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VOLUME 8 — NUMBER 5
NOVEMBER & DECEMBER 2013 CONTENTS JOIN THE CONVERSATION News feeds and more
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Nina Fletcher 16 http://kaywa.me/wMq1h at Worcester State WANDERLUST Download the Kaywa QR Code Reader (App Store &Android Market) and scan your code! Jules Olitski at Adelson 18 FEATURES Portland, Maine 34
Featured Museum: 10 Jane Maxwell at Lanoue 19 Community: 59 http://kaywa.me/0PqVg Still Life Lives! at Fitchburg Seacoast Artist Association
Cuban Virtualities at Tufts 20 Community: 60 Download the Kaywa QR Code Reader (App Store &Android Market) and scan your code! Featured Exhibit: 13 Fulcrum Arts Center SUBSCRIBE TO NEWSSTAND! Studio Furniture at Fuller Craft Slick & Tarentino at Chazan 23 EDITORIALS & EVENTS Subscribe Featured Artist: 28 Kees de Waal 27 Welcome Statement 8 to artscope Laura Morrison at CC Printmaking Centerfold: 36 magazine at the Val Akula Newsstand to Museum Spotlight: 30 Order of the Universe 38 receive each Daisy Rockwell at Bennington at Wheaton Capsule Previews 62 issue instantly. Chuck Close at Housatonic, Ray Now available Gallery Spotlight: 48 Paint at the Hera Gallery 40 Sherwin at Touch, The Country worldwide on Persian Visions at University of Between Us at New Art Center, Merill your iPad. Search Southern Maine Adam Magyar at the Griffin 43 Comeau at Danforth & SNHU, artscope in your app store Holiday Artisan Market in Waterbury, Cover Story: 51 Robert Hunt at the Hunt 46 North American Print Biennial at B.U.’s To advertise, call 1.617.639.5771 or Futurecast at Artspace New 808 Gallery, Daniel Chester French at email [email protected] To subscribe, purchase online at Haven Women Travelers 52 Concord Museum artscopemagazine.com or email at Grand Circle [email protected]
Featured School: 54 Exhibits 64 Published by Boston Publishing House LLC North Bennet Street School Fasanella 56 Copyright 2013 artscope magazine All Rights Reserved. ISSN#1932-0582. at Lawrence Heritage Classifieds 70 artscope reserves the right to edit all material Reproduction in part or whole without permission is strictly prohibited. Publisher KAVEH MOJTABAI Writers Managing Editor BRIAN GOSLOW CHRISTOPHER ARNOTT, AMI BENNITT, LINDA CHESTNEY, Artscope Magazine Copy Editor ANNE DALEY MEREDITH CUTLER, ARLENE DISTLER, DONNA DODSON, JAMES 809-B Hancock Street Mobile App & Tablet Newsstand Media ARTSCOPE DESIGN GROUP DYMENT, JAMES FORITANO, CATHERINE CREIGHTON, FRANKLIN Quincy, MA 02170 Design & Layout ARTSCOPE DESIGN GROUP W. LIU, PAMELA MANDELL, TONY MAROULIS, J. FATIMA Email Blast! Editor LACEY DALEY MARTINS, ELIZABETH MICHELMAN, LISA MIKULSKI, GREG Account Executive CHRISTINA HUANG MORELL, KRISTIN NORD, TARYN PLUMB, MARCIA SANTORE, COVER: Katya Kirilloff, Bathers II, 2006, Business Development Assistant ARI GARBER MARGUERITE SERKIN, KEITH SHAW, LEE STEELE, JAMIE Chromogenic print photograph. Media Development Assistant VANESSA BOUCHER THOMPSON, ALEXANDRA TURSI, SUZANNE VOLMER, ANDRE ONLINE ZINE REPORTER COLE TRACY VAN DER WENDE, DON WILKINSON. artscope WELCOME STATEMENT (Many artists have told me this isn’t impor- boro, Vermont around the time you read tant in the creation of the work, but I’m a this, thanks to a successful Kickstarter believer in people getting proper compen- campaign. sation for their efforts, if only so it gives At times, stories match themselves them the resources to continue to explore with their writers. It just seemed perfect to WELCOME and grow as an artist.) match Lisa Mikulski, who helped artscope All of our recent rollouts — making establish itself in Connecticut before she Shortly after joining artscope ourselves available internationally through moved to Sweden over a year ago, with the magazine, I addressed the differences Newsstand; the artscope App, which ties Hungarian photographer Adam Magyar, between the visual and performing arts together all of our social media efforts; our whose “Kontinuum” exhibition is on view in terms of what a customer will pay for expanded online exhibition coverage in at the Griffin Museum of Photography; the experience and how that relates to the artscopemagazine.com zine; as well as they engaged in an email interview as our publication in terms of being able to our now long-running, bi-weekly artscope Magyar flew from Japan to Germany to prosper on a long-term basis. blast! — were created with that in mind. Lexington, Mass. for his opening reception. We’re in a symbiotic relationship with They’ve also allowed us to expand our His work is contrasted and comple- both the artists and venues we write about coverage of the New England performing mented by both “Persian Visions: and those of you who read us; we need arts community. Contemporary Photography from Iran” the New England arts and culture scene I started building the story manifest for that’s at the University of Southern Maine to be vibrant and thriving for us to be the this issue on the backs of two exhibitions: and reviewed here by Taryn Plumb, and same, and we spend endless hours talking “Still Life Lives!” at the Fitchburg Art Don Wilkinson’s preview of the Robert with artists, galleries and museums about Museum (which I could think of no better Hunt photographic exhibition of female the process of bringing their work, and person to cover than James Dyment, forms at the artist’s newly opened New
the art of the region, to wider audiences who by day is surrounded by the treasures Bedford gallery. Artscope interactive with the hope that adding exposure and of Lowell’s Whistler House Museum), We’ve got two great Connecticut shows tablet edition gives finding ways to reach new audiences will and “Four Centuries of Massachusetts for you to read about and check out: you pan and zoom, help them prosper, both artistically and Furniture,” a collaborative series of Kristin Nord writes about the “Kees de slideshows, in-depth audio/video and more, financially. shows taking place at 11 locations state- Waal: Time Flies” show at the Center for available anytime, The amount of time it takes to create wide, focusing on the “Made in Massa- Contemporary Printmaking in Norwalk anywhere worldwide on a single work takes weeks, months and chusetts: Studio Furniture of the Bay while Christopher Arnott previews the your iPad. To subscribe search Artscope in your sometimes years, and hopefully its final State” exhibition at the Fuller Craft “Futurecast” exhibition at Artspace New App Store. sales price will somewhat reflect that. Museum as well as the grand opening Haven. of North Bennet Street School’s new And there is so much more to explore facility in Boston’s North End. For the within these pages! latter two assignments, I dispatched This issue’s centerfold is Val Akula’s James Foritano, who had recently taken “We All Wear Goggles to See the World” woodworking classes in Provincetown. linoleum print; it was selected by Boston Catherine (Laferriere) Creighton returns printmaker Robert Tomolillo and Provinc- to these pages with an enthusiastic review etown printmaker and professor Vicky of the Jane Maxwell exhibition at Lanoue Tomayko. For our next contest, we’re Fine Art. Similarly, J. Fatima Martins was looking for work in the body art genre a loud advocate for covering Nina Fletch- covering tattoo art, makeup art or body er’s show at Worcester State University. painting. For full details, see our classifieds And Marguerite Serkin does a wonderful section. job balancing the timeless treasures of the We’ve worked hard to put this issue newly remodeled Bennington Museum together for you and hope you’ll enjoy it with its very modern “Daisy Rockwell: and find time to see as many of the exhibi- Topless Jihadi and Other Curious Birds” tions, galleries and museums covered exhibition. as you can — and, as you do your holiday We take a look at several artist commu- shopping, you’ll purchase as many locally- nities: Jamie Thompson takes us on a made, one-of-a-kind New England artisan wanderlust tour of Portland, Maine’s arts gifts as possible at one or more of the district; Greg Morrell visits the Seacoast region’s holiday art fairs and festivals. Artist Association in Exeter, New Looking forward to our adventures Hampshire and Marcia Santore gives us together in 2014! a preview of the Fulcrum Arts Center, which is scheduled to open in Brattle- Brian Goslow, managing editor [email protected]
8 NOV/DEC 2013 He Knows If You've Been BAD OR GOOD An Exhibition of the Naughty and the Nice
December 14 - 28, 2013 Opening Reception: Saturday, December 14 5 - 8 pm
30 Artists Painting, Sculpture, Photography, Work on Paper, Mixed Media. Colo Colo Gallery 101 W Rodney French Blvd. Door 4 New Bedford, MA 02744 508.642.6026 [email protected] artscope FEATURED MUSEUM
STILL LIFE LIVES! MORE THAN JUST A BOWL OF CHERRIES
“Still Life Lives!” features current a porcelain clock, ginger jars and vases. nature in their present condition and trends in still life as an art form and The objects in the paintings are not repurposed as art. Tara Sellios, Impulses, Untitled No. 2, 2013, ed. 2, also highlights work from the Fitchburg arranged as though carefully positioned “The juxtaposition of the dead animal digital C-print, 50” x 40” Art Museum’s permanent collection. “I for a still life, but rather are lined up with to the tapestry, wallpaper and carefully (each panel). put works together that seem to have space between them in a curio setting; arranged dish ware is a play on the conversations with each other,” said perhaps they were from her own collec- stills you might see in a Martha Stewart curator Mary Tinti, who enthusiastically tions. magazine,” Tinti said. It’s a reminder met me at the door for a guided tour of In contrast, another wall featured the of the mortality of life. “Still Life with the exhibit. “Things that are connected photography of Kimberly Witham. The a Mouse” is one of the most striking of both visually and thematically.” photos are intimate tablescapes with the eight photographs. It’s composed of We started in the foyer, which included a little something you wouldn’t expect: white objects: milk glass, cupcake papers, FITCHBURG ART three works by museum founder Eleanor most have a small, creatively posed funnels and Styrofoam cups, making a MUSEUM Norcross (1854-1923): “Art Nouveau,” a animal as part of the composition. But dramatic backdrop for the mouse in the 25 MERRIAM PARKWAY painting of a collection of art glass and how did Witham get these animals to foreground with his legs in the air, a sight FITCHBURG, objects of the period, along with two pose? The secret, as it turns out, is that that would send many a stereotypical MASSACHUSETTS “Untitled” paintings that show her love of the animals are deceased. No, she didn’t housewife running. THROUGH the decorative arts, depicting fine china, kill them. They were collected from As we continue, the work in the room JANUARY 12
10 NOV/DEC 2013 on the left contains light, color and tendrils and dark flowers. Thurston has porary works are flowers that have John Chervinsky, Paintings sweetness. The anchor of this room fills taken great care to attach the paper been artfully frozen in a thin layer of ice. on Guitar, 2012, archival inkjet print (left); and Apples, a large raspberry sherbet-colored wall. so that it is NOT a flat black and white Kocol then takes the ice outside and Painting on Door, 2011, “An Apple a Day,” an installation by Elisa surface. Like a real vine, portions are photographs them with natural lighting archival inkjet print (Photo H. Hamilton, captures my attention with holding the wall while it twists and moves that adds the color of the sky while by Alexandra Moore). 365 mixed-media works on paper. The drawings and paintings are attached to the wall with binder clips and silver pushpins, neatly lined up on a grid to display a calendar full of possible ways to re-interpret a single apple. Walt Kuhn’s (1877-1949) “Apples in a Bowl” (1934), a traditional still life, is strategically placed on a floating wall facing the installa- tion, an example of Tinti’s plan to show connections to the permanent collection. Next we see a delicious painting by Emily Eveleth. “Snake Eyes,” a very large oil canvas with two fresh jelly donuts stacked in the center. They are painted in a most appetizing way, and then I realize the two form the head of a snake. The jelly hole on the top donut forms an eye, and the bottom hole forms a tongue. The mouth appears between the stack. Aaron Fink’s “Blueberry Pie” is next, a traditional subject but pleasingly abstracted as only Fink can do, painted with dripping blueberry filling on the surface so the top crust peeks through. Even though the painting itself might away from the wall, adding a layer of not quickly read as a pie, the abstraction depth as it casts grey shadows beneath makes me salivate. the cut paper. The gallery lighting really intensifies this effect. STILL LIFE EXPLODES Also keeping with the black and white By now, I’ve decided that this is a very theme is Shelley Reed’s “Ribboned unusual still life exhibition. I approach Flowers, Ribboned Fruit (After Mignon?)” Justin Rockwell’s “Volatile Mixture,” painting. Reed works exclusively in which is only still if you consider the greyscale. “Her inspiration is finding small instant this arrangement is captured reproductions of obscure paintings in art in time. Household items of cut and books and focusing on a detail, making it collaged gouache on paper are caught in the subject of the new canvas,” Tinti said. the midst of an explosion. Someone used The classic work of Abraham Mignon is the wrong ingredients in the kitchen. A recreated with a fresh perspective. bit of humor is added in with smoke and Judy Haberl’s purses in cast rubber flames. are a topic of conversation. Three purses, The next room has a completely named “Hidden Agendas 1, 4 and 5,” different feel, in both color and subject explore the dark side with a feminine matter. The work reminds us of the twist. The rubber can be described as “impermanence, seriousness and the somewhere between translucent and weight of knowing life are fleeting. The transparent, revealing the contents within tone shifts,” said Tinti. — two handguns, a grenade and pearl backlighting the flower petals, resulting in Randal Thurston’s “The Great Piece of necklaces. a frosty, bubbly composition of color. Kimberly Witham, Still Life with Goldfinch, Bleeding Turf,” a dramatic installation of cut black Stunning is a word to describe Mary John Chervinsky’s still life photography Heart and Tulip, 2011, digital paper, trails up the wall with its growing Kocol’s photographs. These contem- utilizes the process of removing a section c-print, 20” x 20”.
NOV/DEC 2013 11 Featured Museum
Kathleen Volp, Wan-li Rumble, 2008, mixed media, oil, aluminum on panel (left); and Still Life with Imposter and Wan-li, 2008, mixed media, oil, aluminum on panel (Photo by Alexandra Moore). of a photo which is then sent to a factory in China where it is translated into an oil painting. Then the sections are positioned into the still life to be photographed again. “Paintings on Guitar” is the result, a still-life photo of a guitar with a Picasso flavor. I wish I could go on, as there is so much more. “Still Life Lives!” sets the pace for an extensive exhibition, exploring every interpretation of the still life genre. It runs through January 12 and is well worth the trip, and you shouldn’t hesitate to bring your young ones, as the museum’s new Learning Lounge offers interactive things for your kids to do if they need a break during your visit.
James Dyment
On exhibit at the Concord Museum in historic Concord, Massachusetts through March 23, 2014 in collaboration with Chesterwood, a National Trust Historic Site Assembling French’s sculpture at the Lincoln Memorial, 1920 the Lincoln Memorial, at sculpture French’s Assembling Williams College Courtesy Chapin Library, www.concordmuseum.org
12 NOV/DEC 2013 Featured Exhibit Massachusetts MADE IN MASSACHUSETTS STUDIO FURNITURE OF THE BAY STATE
FULLER CRAFT MUSEUM 455 OAK STREET BROCKTON, MASSACHUSETTS I’m looking at Jamie Robert- moments of inspiration produced in tion and stunning inspiration aren’t THROUGH son’s “Music Stand” (2010), which is the studios of 39 Massachusetts craft- intimidating. There is a “come hither” FEBRUARY 9 ensconced at the gateway of a gallery persons. wit and invitation that leavens the awe in Brockton’s Fuller Craft Museum, and Perhaps perspiration is itself an one feels before the sheer virtuosity of I’m marveling at the ways artful craft elixir? Chief curator Jeffrey Brown fills the gap between serviceable and expands our conception of perspira- enchanting. tion by writing of Charles Crowley’s It does us the service of standing “Arc Back Chair” (1999) that its “lively to raise its lipped shelf to a readable vitality” arises from a process “of height. But there the serviceable stops seeing, feeling, drawing, digesting and and the alchemy begins. Take spruce, making,” a much rounder and sexier ebonized ash, dyed pear wood veneer definition of “perspiration.” and acrylic lacquer; then stir, shake Indeed, as with the “Music Stand,” I and spread over a shape exactly 44 x felt that a lucky owner would feel bound 31 x 18 inches, and “Voila!” or, maybe, to address or somehow acknowledge “Shazaam!” “Arc Back Chair” before sitting on it, so Could such a musical moment in wood full of succinct, provocative commen- ever be realized according to the prosaic tary on the art and purpose of sitting is formula of that other great inventor, Crowley’s ingenious invention. Thomas Edison, who gave us “Genius is one percent inspiration and ninety-nine INTELLIGENT DESIGN percent perspiration”? The sweat of scholarship seems to be Viewers of this mostly very contem- subtly integral to so much of the process porary exhibit must be wondering the of the inventive makers assembled here. same thing as they marvel at these 39 It took me a few passes before I began to appreciate the quiet patterns of Kristina Madsen’s “Window Seat Bench.” Upon reading co-curator Pat Warner’s comments on Madsen’s artistic journey, I learned that four years of study with David Powell at his Leeds Design Workshops in Easthampton, Massachu- setts were followed by a Fulbright grant to spend nine months on Fiji studying with master carver Makiti Koto. Once again, we have a complicated presence to acknowledge in Madsen’s these very individual creations. Jamie Robertson, Music “Window Seat Bench,” as well as a Take Alphonse Mattia’s “Bottle Bed.” Stand, dyed pear wood, faithful ally for that olde-time passion of For me, it was such a witty riff on so veneer, acrylic lacquer just sitting and gazing. many beds I’ve admired or bedded (Photograph by Dean Powell). Wendy Stayman, Ebony End Tables, 2003, And yet, all of this arduous perspira- down upon that I spent gleeful moments ebony, engineered ebony, faux bone, Corian, shagreen, black mother of pearl, jasper (Photo by David Stansbury). NOV/DEC 2013 13 Featured Exhibit Happy Holidays from The Parson House Gallery Historic 1812 home with over 5,000 quare feet of antique, period, and contemporary art.
Join Us This December in Celebrating The Gift of Art Exhibit opens Dec. 1 and runs to Dec 30 Artists Opening Reception – Dec. 7 ( 6 PM – 8:30 PM) Live Music and Refreshments throughout the day. Gallery opens at 10 am - 8:30 pm on Dec. 7 Period 1812 Home will be decorated for the Holidays. Kim Schmahmann, Opposite But Not Equal, 1991-92 (Photo by Lance Patterson). 25 North Main St. Assonet Ma. 02702 508-644-7346 www.parsonhousegallery.com pondering its irreverent implications. There were both my boy’s bed FREE Off Street Parking with its important and enclosing bulbousities as well as the sky-reaching colonial beds it was patterned after. But here, the bulbous shapes are given curving bottlenecks and placed slightly askew on supporting bottlenecks — looking, in effect, more like those precarious pyramids a gambler throws a baseball at in a country Chabot Fine Art Gallery is pleased to present... fair. Or perhaps a dream where nothing quite matches up … but still stands. Or, again, any situation so full of “bottlenecks” that the most arcane logic “Open would provide no path to a solution. Or maybe it would? Studios” Nov. 19th - Jan. 11th THEY ARE ... AKIN TO US. THEY MOVE and THROUGH SPACE WHILE QUESTIONING THE “Art for a Heart” OpeningOpening ReceptionRecepti Nov. 21st 5-9pm SPACE THEY OCCUPY. on Nov. 21st 5-9pm
OurOur “Open“Open Studios”Studios” sectionsection willwill havehave workwork None of this furniture is apt to retreat into a background to become priced at $200 or less. And YES, you will have the one-dimensional. They are, each in their own inimitable way, akin to us. opportunity to “make an off er” on select works They move through space while questioning the space they occupy; It is a unique opportunity to view works by our artists and visit their studios at the same time in one location they have their inner ruminations as well as their social faces. We both meet them on their own provocative grounds as well as use them for our This year our holiday charity is “Art for a Heart” pleasure — sensuous and utilitarian at once. ...something veryvery dear toto our heartshearts Our son-in law Steve DiSumma was born with transposition of the great Could it get any better? Yes. There are events on the Fuller Craft arteries and because of his recent heart failure he is presently in the Museum’s website that, for one, will bring us together with a round-table Intensive Care Unit in the Shapiro Cardiovascular Center in Boston with an artifi cial heart. He will stay there until he receives a heart transplant which of these crafty makers discussing their art and artful lives on November may be up to a year. To help defray the medical costs, our wonderful artists 14. And then there’s dessert. have donated works and proceeds from the sales will go to this cause. For those looking toward a more strenuous engagement, “Four Centuries of Massachusetts Furniture” unites the Fuller Craft Museum with 10 other CHABOT Free Gift Wrapping and Sales Tax Free Massachusetts institutions for a look at furniture that goes back to the first Located on Historic Federal Hill settlers of the Massachusetts Bay Colony. Visit FourCenturies.org to find FINE ART GALLERY 379 Atwells Ave. Providence, RI your own personal porthole on our long journey of art and comfort. www.chabotgallery.com [email protected] 401- 432-7783 James Foritano
14 NOV/DEC 2013
www.chabotgallery.com [email protected] 401- 432-7783 HOLIDAY MART DECEMBER 5 TH – 22 ND THURSDAYS & FRIDAYS 11AM – 6PM SATURDAYS & SUNDAYS 12 – 5PM at 756 chapel Street, New Haven, ct HANDMADE LOCAL GOODS, FREE ENTERTAINMENT & ART WORKSHOPS, HANDCRAFTED JEWELRY, CLOTHING & ARTWORK
FOR MORE INFO, EMAIL US AT [email protected] GET INVOLVED! Project Storefronts continually seeks applications from artists and creative entrepreneurs looking to bring fresh, innovative business ideas to life in formerly vacant retail spaces in New Haven. Providing access to empty storefronts on a 90-day @projectstorefronts rent-free basis, as well as a technical support network of TEL (203) 946-2895 creative and business professionals, we encourage artists WEB projectstorefrontsnewhaven.com and entrepreneurs to test the viability of their arts-related business ideas, while energizing the city’s commercial areas with vibrant storefronts. Interested? Visit us online at www.projectstorefrontsnewhaven.com. Reviews EXHIBITS, ARTISTS AND PERFORMANCES ACROSS NEW ENGLAND & BEYOND NO LIMITS NINA FLETCHER
Ladies and Gentlemen be warned: this is serious Art, but we do hope you appre- ciate the mischief. You are not allowed to touch Nina Fletcher’s handbags unless injury is your pleasure. Likewise, take care in examining her internal reproductive organs, as they require an understanding sensibility; as you can see they appear light and airy but are made of metal. And, if impossibly painful shoes are your fetish, and superhero-woman breastplates or glassy eyeballs with zippered lids excite you, you’ve come to the right place — please enjoy the fantasy, cautiously. My humorous interpretation of Fletcher’s sculptures is inspired by memories of my first introduction to early 20th-century Surrealist sculpture during my innocent college days, over 20 and the building of her 1936 “Object”: the run Blackstone Print Studio. She lives and years ago. In particular, I remember being now-iconic cup, saucer and spoon covered works in Gloucester, Mass. and exhibits Breast Plates (3 of 16), lead, mixed metal, pleasantly shocked by the conceptual in fur, a cross-over composition. regionally. hardware, 2002, 5” x direction of Méret Oppenheim (1913-85) Fletcher’s installations — specifi- “No Limits” is Fletcher’s first solid 6” each. cally the hanging black pantyhose, a retrospective. It offers a comprehensive two-component structure with decora- opening into her mature expressions in tive lace and sensual red satin, evoking totality. Her body of work lives in series oviduct and a vaguely vaginal image format, and the dangerous handbags — bring to mind another precursor: the are only one such example within a heavy suspended nets of Eva Hesse (1936- larger series that continues an explora- 1970). Today, unusual sculptures in this tion of repurposed stuff. Showing the category seem rather expected; there are various series together for comparative many examples and new artists communi- and connective assessment makes for a MARY COSGROVE cating in this language. substantial show. DOLPHIN GALLERY Fletcher, however, is not an emerging Worcester State University professor WORCESTER STATE UNIVERSITY artist; she has been working for decades, Catherine Wilcox-Titus, who has a 486 CHANDLER skillfully experimenting with found particular curatorial style, organized the STREET objects, ready-mades, and recycled and exhibition. She directs dense and impres- WORCESTER, discarded sources; she manipulates harsh sive arrangements, often to serve as MASSACHUSETTS substances like toxic lead into original educational and instructional tools for THROUGH NOVEMBER 21 expressions, forcing a reengagement of her students. To feature such a signifi- materials. Her awards are many. She’s cant number of diverse examples within also an expert printmaker, as exemplified a limited exhibition space is a daring by the large diptych monoprint, “Pas de approach. En Pointe 1, 2011, lead, mixed metal, 2011, 14”. Deux,” and is also founder of the artist- Criticism could arrive pointing to the
16 NOV/DEC 2013 possibly overwhelming amount of visual The manipulation, confinement and information; yet, on the other hand, it is transformation of female anatomy by exactly this substantiality, and attempt at outside forces, internal processes, and being complete, that seduces the viewer. time is certainly one of the main subjects, Extremely aware of the possibili- as is the strong theme of reproduction — ties, seeing in layers and multiple visual birth and decay. Although she employs dimensions, Fletcher is a respectful some sensual materials, the tone is the provocateur. She’s clever and a bit self- opposite of romantic. Aged lace, silk deprecating, using her own body as and velvet, for example, and once-sexy subject, thus making everything a self- women’s accessories such as high heeled portrait. shoes, satiny evening clutches, pantyhose Her oeuvre provides some heavy and lingerie are transformed into intimi- commentary beneath the obvious dating harsh creations. tongue-in-cheek metaphors. Wilcox-Titus Removing the underlying meaning, makes some intriguing observations, forgetting represented subject and writing “These images of the body reveal ignoring object context, Fletcher’s work compelling conceptual content, since they is about fundamental design and archi- casually intellectual, yet focused and reflect the body’s status as a battleground tectural construction. It shows us how obsessive. She will offer her audience an Feed Me, My Pocketbook My Self, 1999, clutch of contested meaning.” to build, and how to print with sundry opportunity to discuss her shoe collection, handbag assemblage, 12” materials — wires are drawing lines, shoes the zippered eyeballs, and the aggres- diameter. OPPOSITES ATTRACT bend and conform to structure, metal is sively soft “Breast Plates,” along with all Because the extreme innovative use molded, fabric is the substrate onto which the other works, on November 7 at 5 p.m. of material presents enticing, contrasting ink is printed etc. Go meet her. textures — smooth/hard; shiny/rusted; light/ Fletcher’s visual signature is concep- heavy; pretty/grotesque — Fletcher’s visuals tually and technically labyrinthine — J. Fatima Martins are remarkably fascinating and loaded. sometimes simple, other times involved,
1 0 t h a n n i v e r s a r y s e a s o n Henry VIII by William Shakespeare directed by Tina Packer December 11, 2013 – January 5, 2014 The Modern Theatre at Suffolk University | Boston
866-811-4111 or actorsshakespeareproject.org
aspArtscopeH8.101513.indd 1 10/15/13 4:14 PM NOV/DEC 2013 17 Reviews
REVIVING JULES OLITSKI OLITSKI, EXPLAINED IN THE
21ST CENTURY Babylon Wind: Pink, 2006, watercolor and gouache on all rag paper, 14” x 10”. Says Adam Adelson, director of Adelson and experience all come together and at Galleries Boston, which is hosting a solo once reconstruct a reality into a vision … of exhibition of American artist Jules Olitski’s order and harmony.” paintings this fall, “We are reviving Olitski’s Throughout his long and active career, work and reminding our audience that he Olitski adopted and abandoned a variety was a great artist until the day he died.” of styles and mediums. His work was exhib- Adelson had the opportunity to exhibit a ited in over 150 one-person exhibitions, full retrospective of Olitski’s work; however, including, in 1969, being the first American “I thought it would be more powerful and living artist to exhibit solo at the Metro- significant to emphasize these late paint- politan Museum of Art in New York. ings,” he said. “Upon seeing Olitski’s late According to Adelson, “many people paintings for the first time at Freedman don’t know that Olitski kept painting after Art in New York, I instantly fell in love. the 1980s. Visitors who remember Olitski’s Something about the color and the energy work from the 60s, 70s, and 80s might be in these relatively small canvases filled me pleasantly surprised to discover that he with great enthusiasm.” was a great painter until the day that he His enthusiasm grew into the first exhibi- died. The younger crowd may learn about tion his gallery has hosted that takes up an important American modern painter. both floors of the space. Adelson explains Artists may discover that one does not have that “Jules Olitski had two requests for to stick to a particular canon to become curators: 1). Do not stack the work and 2). recognized and produce great work.” Separate the works on paper from the These late works feature two styles: canvases. In addition to the artist’s wishes, acrylic on canvas and watercolor on this exhibition is our most historically rag paper. The sizes range from a very significant, and we want the atmosphere of small 4” x 7 5/8” to 60” x 84”. They are our gallery to be museum quality.” abstract, although they feel like skylines or Olitski, who passed away in 2007 at landscapes, often a round orb or sun being age 84, was an American abstract painter, the common object among them. The colors printmaker and sculptor. As part of his are bold and many, and in some works, artistic education in Paris in the 1940s, paint is layered in a variety of textures, “taught me that playing is a tremendous he studied European modern masters, showcasing movement, depth and flow. skill not to be ignored. Today I make and engaged in intense self-analysis that Early in the exhibition, the gallery hosted theater, telling stories through music, included painting while blindfolded to a panel discussion entitled “The Late language, and movement. Everything I ADELSON remove himself from all of his customary Works of Jules Olitski,” featuring a conver- used to watch him do lives within my own GALLERIES BOSTON habits and facility. sation with Olitski’s daughter Lauren Olitski work and enhances my ability to communi- 520 HARRISON In 1985 Olitski wrote “although the Poster and grandson Harry Poster. “Rather cate. I never saw my grandpa worry about AVENUE what was the ‘right’ way to paint. I never ‘blindfold’ paintings were not truly realized than a scholarly conversation about the BOSTON, works of art, they were, I believe, my first artwork,” shared Adelson, “this was a saw him stop exploring and listening to the MASSACHUSETTS true works. They had come out of play, and unique opportunity to find out who Jules work in front of him as if he were done with THROUGH to me, at least, they looked alive. The kind Olitski was as a man, father, grandfather, it. He never stopped discovering. He never DECEMBER 22 of play I mean is serious play, inspired play, and role model.” stopped playing.” where imagination, intelligence, intuition “My grandfather,” Harry Poster shares, Ami Bennitt
NOV/DEC 2013 18 ReviewsReviews EXHIBITS, ARTISTS AND PERFORMANCES ACROSS NEW ENGLAND & BEYOND SOCIETY WOMEN JANE MAXWELL UNDRESSES POP CULTURE
You may be forgiven if you’ve recently felt oversaturated by the general conversa- tion about women in society — having it all, leaning in and measuring thigh gaps. In fact, you may be forgiven for a slight skepticism about what Jane Maxwell’s pretty young silhouettes can add to the dialogue. Let her surprise you. Maxwell’s lively collages bring a fresh, playful voice to the table while commenting with a cultivated ambivalence about serious issues: women’s relationships to each other and to their own bodies. In her posthumous publication “Appetites: Why Women Want,” Caroline Knapp rails against the long-perpetuated stereotype that women are bad at math. ”Women are actually superb at math; they just happen to engage in their own variety of it, an intricate personal math in which desires are split off from one another, weighed, balanced, traded, assessed. These Sometimes her figures are singular — orders and pinwheels them around the Bikinis & Shoes, collage, are the mathematics of desire, a system of most showcase two or more central silhou- canvas. See “Free Fall,” in which three wax and resin on panel, self-limitation and monitoring based on the ettes. Casting in multiples allows another women slip with a certain weightlessness 31” x 58”. fundamental premise that appetites are at central drama to unfold. These women are around a central point. Their hair flies in best risky, at worst impermissible, that indul- comrades — they share experiences, they front of anonymous faces. Arms and legs gence must be bought and paid for.” breed empathy. But friendship is flawed tumble backwards. Their movements lose On large wooden boards layered with and a second person introduces a sense of restraint; they’re starting to spin out of creamy vintage papers, runway model competition and envy that Maxwell makes control. Maxwell lets us linger at the brink, armies, bits of texts and lots of numbers, palpable with compassion for all involved. but never lets her girls dissolve into chaos. LANOUE FINE ART Maxwell’s figures explore this calculus in a In “Bikinis & Shoes,” women lounge in While Maxwell observes and explores 125 NEWBURY high gloss resin. Her gamine girls catwalk in swimsuits, their straps hanging listlessly themes that have critical and serious impli- STREET threes and fours against a backdrop of found off of their shoulders. In the background, a cations, it’s clear she’s not proposing any BOSTON, elementary school flashcards, hexagon logic runway show is cropped so that you can only specific course of action. In fact, Maxwell, a MASSACHUSETTS games and accounting ledgers. Old Weight see the bottom half of the models parading self-confessed “pop-culture junkie,” seems THROUGH NOVEMBER 9 Watchers journals are there too, hidden away from us — a line of slender, voiceless to be having a lot of fun. Against vibrant underneath up to six layers of produce legs in five-inch neon platforms. In their colors and fascinating found papers, her labels, antique Hollywood posters, movie exposed state, our bikini-clad women gravi- paper dolls have a sense of humor. The big, scripts and crisp glaze. When the scene is tate toward each other and begin a slow and glossy pieces are mischievous and sexy. set, Maxwell’s silhouettes are placed front intricate process of communal judgment, They’re sprightly and flirtatious. They yearn and sometimes center, and she slowly peels holding their calves up to the impossible for perfection, but seem to be content in back layers of built-up collage to reveal their standard of a high-fashion model. knowing that the artist will always keep it patchwork “outfits.” What, and how much to Maxwell’s most recent work pulls her slightly out of reach. expose, is all part of the décollage process. women out of strict, parallel marching Catherine Creighton NOV/DEC 2013 19 Reviews
CUBAN VIRTUALITIES
NEW MEDIA ART SIGNALS FROM MARIA MAGDALENA CAMPOS-PONS: THE ISLAND MY MOTHER TOLD ME SHIRLEY AND ALEX AIDEKMAN ARTS CENTER TUFTS UNIVERSITY ART GALLERY 40 TALBOT AVENUE MEDFORD, MASSACHUSETTS THROUGH DECEMBER 8
The anthology of recent Cuban works employing digital technologies — video installations, Internet art, performance documentation and interactive media — in Tufts’ Aidekman Gallery is consumed by the awareness that it actually represents “not-so-new” media. This fate is the conse- quence of longstanding political repres- sion in Cuba under former president Fidel Castro’s rule and economic stagna- tion under the still-strenuous American embargo. But the artists’ struggle, regard- less, to participate through digital and communicative technology in the inter- national art world is what makes the work both ingenious and artistically complex. The 12 works (including one off-site in the college’s Latino Center) have been spirited out of Cuba by co-curators Liz Munsell, assistant curator of contempo- rary art at Boston’s Museum of Fine Arts, and Rewell Altunaga, a Havana-based artist and curator. Their high-tech look is both promising and misleading, as they tion of computers and is restricted from would admit the ubiquitous lack of “real” are often pirated or parodic, or simply importing United States products, these Internet presence. Ironically, Tufts has Entrance to Cuban Virtualities. mimicking technologies the artists can’t works project a pent-up desire for the provided extensive contextual informa- reproduce or access. They reveal the missing magic. tion on the show through a web-based absurdities of inefficient repression and Altunaga’s email piece, “WWW,” chafes digital app that can be carried on an iPad the frustrations of obsolete resources. at the dilemma of championing virtual throughout the gallery. Leaving aside the While Internet access is now available art-forms without a local institution to concern that the device could substan- in 240 cyber-cafes around the country bring together work and audience in tially distract from the experience of for about $5/hour, it is functionally dialogue. His printouts of email strings, the art itself, it is worth pointing out the absent from the lives of most Cubans, magnetically tacked to a steel board, subversive nature of this tool, as it poten- who earn an average of $20 per month. document his vain attempts at convincing tially brings back to some in Cuba news of From a nation that sequesters foreign established Havana galleries to provide an exhibition the society is still unwilling currency, rations its food, limits distribu- this exhibition a domestic venue that and unable to show.
20 NOV/DEC 2013 SIGHTS SET ON PROTEST video, however incendiary, is hardly a Other artists protest through use of threat. Yet such could be Glenda Léon’s anachronistic means. Rodolfo Peraza’s “Inversion” (2011). In the three-minute “Play and Learn 2.0” computer game, video, fingers holding a razor blade scrape programmed in vintage game software, the ink off a U.S. $100 bill onto a white makes his point on a monochromatic table. They sweep the green powder into black and yellow screen. A moving tank- a small pile, then pick up a small elliptical icon slides back and forth across the leaf lying nearby and roll it into a tube. screen, swiveling its gun turret. Drag the A head of hair descends to snort the mouse and click: the gun fires bullets at powder; the leaf is left empty on the table. words from an ideological primer used In many ways this image (punning on in the revolutionary society to teach the word for “investment”) makes Cuba second-graders the “structurally commu- the linchpin: its abhorrence and worship nist” virtues of the “new man.” (Sadly, of American currency, the exchange losing the game within 7 seconds, I never of dollars for drugs throughout the rose through the levels to attack “higher Americas, and Fidel’s financing of revolu- forms” of revolutionary consciousness.) tion in coca-producing countries. Time-based media naturally highlight Curiosity and a yearning for free and a paradoxical relationship between open dialogue nest in Mauricio Abad’s time and a sense of timelessness. Jairo interactive video-installation, “Street.” Gutierrez’s “Millennium Monument,” a Abad’s soundless video purports to record deceptively simple work, can be accessed people on Havana’s streets answering on the Internet (though not in Cuba). The his question: “What is something you’ve large black numerals centered on the bare never done because you’ve been afraid?” white screen indicate a time-imprint stuck Against the dark screen the text exhorts: member of the School of the Museum of at the first second — “00:00:01.” While two “The silence exist but if you scream the Fine Arts, Boston who throughout her Maria Magdalena Campos-Pons, Flag Year colons flash insistently on and off every life will be filled with color [sic].” Viewers burgeoning and graceful international 13. Color Code Venice, six seconds, the digits stay unchanged. stomping and shouting in response to career has sought to establish cultural 2013, nine-panel Polaroid Below, an apparent date-stamp, “01—01— the projection stimulate a feedback links to create international inroads for composition. 00,” hints at the first month and day of system (self-engineered by the artist) that the isolated artists of contemporary the new millennium — or any era. With brings up the speakers in brilliant color Cuba. Several of Campos-Pons’s innova- Cuba as the context, interpretations on the screen. Might a similar empathic tive multimedia works are separately on abound: the ending of historical time with paroxysm be what is needed to throw off exhibit at the Aidekman. Her most recent the revolutionary moment; or perhaps, the repression discouraging Cubans both performance at the Cuban Pavilion in the the endlessness of a population’s waiting from risk-taking and the zest for life? 2013 Venice Biennale, “The Flag. Color until that artificially-arrested moment lets None of these works, however, could be Code Venice 13” is documented here as go and measurable, meaningful “time” reviewed here if not for the humanitarian a composite of large-format Polaroid begins again. efforts of the expatriate Afro-Cuban artist photography. Without YouTube, a potentially viral Maria Magdalena Campos-Pons, a faculty Elizabeth Michelman view art learn about art create art Connect The Country Between Us The Way is Made by Walking: Forg- Workshops ing New Paths Through Poetry and Exhibition curated by Ariel Freiberg Figure Workshop - Nov. 9, 9:30-4 Featuring the work of Resa Blatman, Ariel the Visual Arts Panel Discussion Freiberg, Susan Still Scott, Zsuzsanna Varga Wed. Nov. 20, 7-9pm, Free Childrens Veteran’s Day - Nov. 11 with Art Szegedi. Ladder Bracelets - Nov. 21, 7-9:30 Break the Square: Painting Work- Nov. 15 to Dec. 20, M–F 9–5, Sat. 1–5 shop for all Ages 61 Washington Park, Newtonville, MA 02460 Watercolors - Nov. 24, 10-3 Free Opening Reception: Wed. Dec. 4, 5-6:30pm, $5.00 617-964-3424 NewArtCenter.org Nov. 15, 6–8:30pm REGISTER NOW
NOV/DEC 2013 21 BOOKBINDING DO CARPENTRY CABINET & FURNITURE MAKING JEWELRY MAKING & REPAIR WHAT LOCKSMITHING PIANO TECHNOLOGY YOU PRESERVATION CARPENTRY VIOLIN MAKING & REPAIR
LOVE Workshops, master classes and full-time programs. Located in a new OPEN facility in Boston’s historic North End. EVERY HOUSE NOV. 8-9 NBSS.EDU DAY BOSTON
artscope half page 2013.indd 1 10/9/2013 9:28:12 AM
22 NOV/DEC 2013 Reviews Leigh Tarentino, Untitled, 2013, acrylic on wood panel, 24” x 30”. DUAL INDIVUALITY DUANE SLICK AND LEIGH TARENTINO
Duane Slick and Leigh Tarentino are employs the construct of lines organizing hyper-realism of James Rosenquist. An paired in a straightforward exhibition space, interpreting identity as it applies to eagle’s feather served as the inspiration CHAZAN GALLERY where it is best to consider each artist’s him as a Native American in relation to his for this painting, with its sophisticated AT WHEELER SCHOOL work individually. immediate kin and tribe. spatial movement that soars with a sense 228 ANGELL STREET Slick includes both abstract paintings These are empowered paintings of enveloping background. Blending PROVIDENCE, and narrative canvases of various shapes addressing the recent deaths of Slick’s American Indian pattern influences RHODE ISLAND and dimensions in this show. His “Roaring father and brother. “Purposeful Life” is with contemporary painting genres, NOVEMBER 14 Silence” is an eight-sided canvas that a composition of thick red lines and grey Duane Slick brings about a cross-cultural THROUGH reads like a stop sign with a surface of variegated lines; its bold physicality leads richness in subject matter, amplifying DECEMBER 11 horizontal lines in white, grey and black. the eye into deep space. It references the spiritual power of a send-off, meant Glaringly bright white keeps viewer the commanding presence of a Chief’s to address movement from one state of attention focused on the foreground, blanket, which he fuses with a style of being to the next. while dark horizontal stripes create painting that also relates to the power and He also shows paintings depicting the depth of space. The artist’s abstract work speed of Pop Art influences such as the face of a coyote, which floats in pale white
NOV/DEC 2013 23 Reviews
layers, emerging from a background of Each painting is a regional landscape, emphasis on the banal. Most all of the Duane Slick, A Purposeful ultramarine called “Metaphysical Idea a mise-en-scéne tableau connected in paintings that Tarentino includes in this Life in Red, 2012, acrylic on linen, 18 1/4” x 22 1/4”. in Blue.” The imagery has a ghost-like a way to Film Noir. Her subject matter show are small in size. Her content has an presence that’s ethereal but not scary involves re-imagined terrain configured in intimacy of scale and a sense of place. (and initially confusing as one adjusts montage with information drawn from her Both of these artists teach. Slick is to its ambiguity). The coyote means photographs of landscapes shot at night the head of the painting department “trickster” to Native Americans, and is around Rhode Island, Massachusetts and at Rhode Island School of Design and an indication of change. Also shown by Upstate New York. Tarentino is an assistant professor in Slick are meticulous paintings on glass Tarentino’s paintings are of darkened the art department at Brown University. that depict shoulders of imagined human places and suggest an H.P. Lovecraft vibe Their paintings come from very different forms draped with the American flag; — a somber mood that the artist describes recesses of the creative mind, yet both these refer to the importance of veteran or as “Goth.” She uses a limited palette artists tell an interesting story. warrior status within the American Indian of blacks, grays and white interspersed In addition to this exhibition, Slick’s culture today. Together, these paintings with opalescent, mica-like glazing effects, paintings can be seen in “Dwellers on are an ensemble of parts, claiming and flocking on white layered amid the the Threshold” at The Putney School honoring the identity of powerful spirits. blackest of blacks, creating a spooky, in Vermont through November 22. As paintings, no matter their size and left-behind quality. These are illustrative Tarentino will make a Window Project for shape, they have a monumental presence. paintings by nature that depict places Mixed Greens in New York City in March Tarentino’s paintings are nightscapes of cool to the touch. In some paintings, and is represented by Adam Gallery in the familiar suburban settings. Her attention holiday lights hang on the armature of United Kingdom. is focused on backyards, trees and houses trees looking at once wonderful and Suzanne Volmer in the bleakness of winter, sometimes abandoned. Her vocabulary relates to with shadows playing upon ice and snow. artists such as Mark Tansey in terms of
24 NOV/DEC 2013 Night Out : Jim Kubiatowicz, CA JAMES KUBIATOWICZ NOVEMBER 5 - JANUARY 5, 2014 [BOSTON PRIVATE BANK AT THE PRU]
Afternoon in Red : Marilene Sawaf HOLIDAY SMALL WORKS 2013 NOVEMBER 14 - DECEMBER 24, 2013 fullerCRAFT museumTM [UPPER & LOWER GALLERIES] Let the art touch you Made in Massachusetts Studio Furniture of the Bay State 10.12.13 – 2.9.14 Thursday, Nov. 14, 6:30 pm Making Meaning Artist Roundtable More info at www.fullercraft.org
Charles Crowley Gondola Ferri, Bacino Orseolo by Rodbert Pyle Arc Back Chair, 1999 VENEZIA ROBERT PYLE NOVEMBER 14 - DECEMBER 24, 2013 [RED ROOM GALLERY]
This exhibition is a product of 158 Newbury St, Boston, MA 02116 Four Centuries of Massachusetts Furniture ■ fourcenturies.org p:: 617-536-5049 e:: [email protected] w:: copleysociety.org Fuller Craft Museum ■ Brockton, MA 02301 ■ 508.588.6000 ■ www.fullercraft.org Tuesday -Saturday 11-6 | Sunday 12-5 | Monday by appointment
NOV/DEC 2013 25 The Parson House Gallery Celebration of Life Don Cadoret Nov. 2 - 30 Solo exhibit of new works that fuse the past & the present through the use of antique frames and story paintings
Exhibit Opens Nov. 2 (10 am-8:30 pm) Artist Opening Reception - Nov. 2 (6:30-8:30 pm) Live Music & Meet the Artist Nov. 14 (6:30-8:30 pm)
The Parson House Gallery 25 North Main St., Assonet, MA Mon. Wed. Fri. Sat.: 10-5 Thursday 10-8 www.parsonhousegallery.com 508-644-7346 Sunday 11-4. Closed Tuesdays
Historic 1812 home with over 5,000 sq ft of Antiques, Period & Contemporary Art FREE Off-Street Parking
26 NOV/DEC 2013 Reviews TIME FLIES KEES DE WAAL IS ALWAYS HAVING FUN
While the acclaimed prints of Kees de Given the scope and experiences of de In a recent telephone interview, de Waal Waal, who maintains studios in Connecticut, Waal’s life, perhaps it’s only logical the said one of the greatest gifts in his life at CENTER FOR Holland and France and produces more Dutch artist has become “a storyteller who the age of 92 is his capacity to create. Ideas CONTEMPORARY PRINTMAKING than 100 works a year, have been widely paints.” He had sharpened his sensibilities come to him on daily walks along Long 299 WEST AVENUE exhibited in Europe and Latin America, his with Bosch, Dürer and Bruegel as a young Island Sound, as memory, and in dreams, MATTHEWS PARK painting remained a private pastime for man, and he steeped himself in the major as well as in daily interactions in the world. NORWALK, many years as the young Dutchman forged 20th century European art movements Many of these fragments find their way CONNECTICUT a career. in academic studies at the Arnhem Art into a spiral notebook that he returns to DECEMBER 5 Despite recognizing his potential as an Academy. Later he studied lithography and frequently. THROUGH JANUARY 26 artist early in life, de Waal first applied his etching at the Masereel Centre in Belgium. Norman said the recurring themes, textile engineering and design skills in his Like a proverbial Joseph and his Amazing whether the power of nature vs. technology, father’s wholesale business, combining Dreamcoat, de Waal’s own near-death or the family ties that bind, surface again work with travels throughout the world experiences during World War II and his and again in de Waal’s work. But he also in pursuit of the best textiles. His acumen global travels have shaped a worldview that delves into the myths and stories of various in both the creative and nuts and bolts is clear-eyed yet remains hopeful, even as cultures for their universal lessons. His birds later fueled the creation of HIJ, a highly he acknowledges man’s capacity for evil. successful men’s fashion retail chain with In his prints, where the written word often 150 stores in Holland, Switzerland and jostles the image, de Waal challenges the Belgium. viewer to think, to engage and to dream. Then, in 1985, he handed the reins of “I see him as essentially a modern-day his highly successful business to his son, Aesop’s fableist,” said Julyen Norman, relocated to Greenwich, Connecticut, executive director of the Center for and redirected much of his fortune into Contemporary Printmaking and co-curator philanthropic work in Latin America. Finally, with staff master printer Christopher Shore he gave himself permission at the age of 62 of its upcoming “Time Flies: Kees de Waal” to commit the rest of his life to his art. exhibition. The two men have been busy selecting the approximately 50 works that will offer an overview of de Waal’s oeuvre spanning nearly 60 years. Now in his 90s, de Waal continues to innovate, taking particular delight in “turning some of the traditional printing methods on their heads,” Shore added. The exhibit will include etchings, solarplate intaglio, linocuts and woodcuts; most are printed on handmade paper, and then embellished and hand-colored. Employing watercolors, pastel, ink, pencil and dancers and musicians speak to art’s or collage, and later adding text, he creates restorative power. Much as Calder directed What makes your mind spin more: Hightech or works that are multi-textured and brimming his Lilliputian circus, or Klee conducted his Love, 2012. with cultural and biographical references. personal symphonies of color and symbol, Look closely and you’ll see music scores, one often senses that de Waal the artist is bookkeeping ledgers, sea charts and other part-choreographer, Norman said. tangible remnants of the working world
interacting with subject and text. I have my favourite song — look for your Kristin Nord melody — it’s yours, 2012.
NOV/DEC 2013 27 Featured Artist New Hampshire HANDS-ON NATURE LAURA MORRISON’S ORGANIC, PROCREATIVE, FIBER SCULPTURES
Alien and natural. Warm and weird. suburbs, she said, “It was a wasteland.” Feminine and feminist. Laura Morrison When she moved to Concord, N.H. in 1994 uses recycled fibers coupled with felting, with her husband, son and soon-to-be- knitting, crochet, embroidery and beading born daughter, she was surprised to find a to create sculptures whose rich colors very different culture. “In New Hampshire, and textures twist, open, reach, wind and every town had a little gallery or artsy enclose, embodying a generative tactility, shop, community theater, music, the whole tempting viewers to touch them. gamut,” she said. “New Hampshire seemed Touching is part of Morrison’s process. very supportive of the arts. Maybe not so All her work is made with her hands, much in terms of buying art, but in terms eschewing machinery for sewing or felting. of supporting you emotionally as an artist.” Morrison starts “with a kernel of an idea Much of that support came from and the materials guide how it will come meeting other artists when she joined the out,” she said. “I don’t start with a concrete New Hampshire chapter of the Women’s sketch of how I want it to look.” Her Caucus for Art, a national feminist organi- process-oriented approach allows each zation dedicated to recognizing and piece to develop organically, like the living promoting women artists and providing things that inspire them. professional development, exhibition tion with other artists, such as the WCA/ “I pick natural shapes — flower petals, opportunities and networking for its NH show “The Art of Words” at the Epsom Laura Morrison in her studio. seeds — that I see in the garden. But members. “I kind of found my tribe there!” Public Library (until November 16); the nothing I make looks like something you’ll Morrison said. holiday small works show at the Emporium see in nature,” she said. “People say that It was through WCA/NH that she met Gallery in South Berwick, Maine; and WCA/ something reminds them of something else: Gail Smuda, well known for her assemblage NH’s 6 x 6 show at the new Studio 550 Art a penis or a vagina or a pod. That’s to be artist books and also based in Concord. “I Center in Manchester, NH. expected. That’s what all of nature springs think of Gail as my mentor,” Morrison said. In 2014, Morrison will participate in from. All flowers are reproductive organs.” Trained as a graphic designer, Morrison “Amusements,” a collaborative installation Others see something more unfamiliar. was used to working as part of a team, in which six artists reinterpret mini-golf “People sometimes say my sculptures something she missed as an individual holes, at Narrows Gallery in Fall River, remind them of aliens,” Morrison said. artist. When Smuda approached her with Mass., and in “MOMMA,” an exhibition “They say they feel like ‘It’s alive! It might an offer to collaborate, Morrison was eager by four New Hampshire artist-mothers come out and get me!’” Her “Mutation to work with her. (curated by this writer), at the Silver Center Specimen E” uses wool and glistening Together, Morrison and Smuda have for the Arts in Plymouth, N.H. Morrison’s beads to evoke something strangely created two installations and a mixed work is also permanently installed at New aquatic, like a transfigured jellyfish or media sculpture called “A Matter of Time” Hampshire Technical Institute’s Dental Lab sea anemone (those who encounter it at (on view through May 2014 at the National and Building, and the Merrimack (N.H.) the Mill Brook Gallery’s “Got ART Talent” Watch and Clock Museum in Columbia, Courthouse. exhibition, on view through December Pennsylvania). They are currently working Her artwork can also be seen online at 24 in Concord, New Hampshire, are on a series of small-edition artist’s books, her website, LauraMorrisonArt.com, and protected by the glass cloche). and are now working under the trade name on Facebook at Laura Morrison Art. Morrison grew up outside of Chicago, Loosely Knit Alliance. and the art available to her all over that Morrison’s work can be found Marcia Santore city was profoundly influential. But in the throughout New England, often in conjunc-
28 NOV/DEC 2013 YamamotoArtScopeMagAD.pdf 2 10/15/13 6:49 PM
The Art of Sea-ing WILLIAM H. DRURY, CHARLES WOODBURY, AND GEORGE BELLOWS September 28, 2013-January 19, 2014
William H. Drury, Passing the Guard Boat, William H. Drury, Hunting Swordfish, c. 1934 1919, Oil on canvas Etching, 7 7/8 x 9 7/8 inches (plate)
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M 76 Bellevue Avenue, Newport, RI newportartmuseum.org Y
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K YAMAMOTO GALLERY
COOLNATIONAL EXHIBITION juried by NEW GALLERY NEW SPACE JOSEPH CARROLL November 8–December 22, 2013 Opening Reception: Friday, November 8, 6–8pm 2014
Coalescent, Neil Wilkins
SOUTH SHORE ART CENTER 119 Ripley Road, Cohasset, MA Gallery Hours: M–S 10–4, Sun 12–4 781 383 2787 > www.ssac.org
NOV/DEC 2013 29 artscope MUSEUM SPOTLIGHT
TOPLESS JIHADI DAISY ROCKWELL EMBRACES CONTROVERSY
In the courtyard of the Bennington epitomize American culture of the them her laced boots, shell hair combs Museum, a colossal mill wheel and time, and the artist has been widely and a weathered family photo album. TOPLESS JIHADI two cast iron Dalmatians presage the celebrated as a national icon. The This highly personalized curatorial AND OTHER welcome mix of eclectic and formal Bennington Museum’s voluminous approach gives the exhibit immediacy CURIOUS BIRDS works, which are housed inside the collection offers not only some of and relevance in the present day, even BENNINGTON MUSEUM museum’s walls. Aptly named, Willard Grandma Moses’ most defining works; as it encapsulates the historical period 75 MAIN STREET Boepple’s statuesque crimson sculpture, the permanent exhibit provides rare in which the artist worked. BENNINGTON, “What Gives,” sets the tone for the insight into her artistic process and Appearing in the adjoining gallery, VERMONT themes of patriotism and provocative early years. Cleverly written placards Daisy Rockwell’s brash and controversial THROUGH social commentary, presented side by which eschew the merely explanatory in portraits stand in stark contrast to DECEMBER 30 side throughout the museum’s well- favor of compelling narrative and direct the Grandma Moses collection. Highly defined and spacious galleries. quotes are combined with a display of politicized, her “Topless Jihadi and The paintings of Grandma Moses Moses’ personal belongings, among Other Curious Birds“ exhibition is at once
30 NOV/DEC 2013
Left to Right: Looked Over Jordan, acrylic on wooden panel; Avoider of Fines (from “Mugshots” series), acrylic on wooden panel; Nude 2, acrylic, glitter on wooden panel; Voluminous, acrylic on wooden panel.
disturbing and alluring in its depiction size and composition of miniatures from Rockwell begins with heavily primed wood. of the downtrodden and exploited, from the Edwardian era, yet these portraits “I paint on wooden panels that are primed female convicts to women held captive hold all the vibrant color and vigorous twice, and then I cover them in a layer of by their own success. “For the past five style of realism deliberately devoid of very dark paint, usually a blue, green or or more years, I’d been painting mostly glamour. One of Rockwell’s greatest purple,” Rockwell explained. “After this I world leaders and terrorists,” Rockwell skills is to transpose the credibility of begin with the face of the subject, building stated. “Most of such figures are men, elite social placement onto the lower up first the lightest tones and working up so it had been all men all the time. In strata of society while exposing the to the darkest, which are often simply the many of these paintings you will see hypocrisy — and vulnerability — of higher dark under-paint. The last thing I do is the women engaged in the public sphere, social circles. “Many reviewers have background, almost always a solid bright for better or worse. I think in retrospect said that I cut world leaders ‘down to color.” The effect is a signature style that I’ve been exploring those engagements, size’ in my paintings of them,” Rockwell is unique and constant in Rockwell’s work. which have their own kind of power, explained. “I guess the best response even if women continue to be kept out I can give is that I am fascinated by BENNINGTON’S MODERNISM of positions of power with regard to all kinds of people and have not much Two new permanent exhibits opened in public office or high-ranking leadership respect for hierarchies. If I did not give July of 2013 among the eight galleries roles.” the same artistic deference to a parolee housed on the second floor of the Rockwell’s “Mugshots” is a set of seven that I would to Whitney Houston or museum. Between the early 19th and portraits with titles such as “Parolee,” Vladimir Putin, then I wouldn’t be doing 20th centuries, Bennington and the “Intoxicated Driver” and “Avoider of my job.” surrounding area served as a hub of Fines.” Painted on square wooden To accomplish the vigorous, in- industrial productivity, with close to panels, the pieces are reminiscent in your-face immediacy of her portraits, three dozen functioning mills along the
NOV/DEC 2013 31 Amanda Beard ART ILLUSTRATION • DESIGN • STATIONERY
Portion of the Bennington Museum’s Gilded Age Vermont Gallery.
10% Off Your Purchase! Apply coupon code ARTSCOPE13 at checkout Walloomsac River. “Gilded Age Vermont” chronicles life in the mills and Valid through 12/31 the extravagance of the industrial barons who made Bennington their home. A Martin Wasp touring car, an Estey Parlor Organ, an ornate side www.amandabeardart.etsy.com @amandalikesart ROCKWELL’S BRASH AND CONTROVERSIAL PORTRAITS STAND IN STARK CONTRAST TO THE GRANDMA MOSES COLLECTION.
table and richly upholstered davenport, as well as oil landscapes and photographs of the day are displayed in close proximity. The room has a participatory feel, allowing the visitor to connect with each piece rather than simply observe. Around the corner, “Bennington Modernism” offers a unique view into the avant-garde movement that figured prominently in American painting and sculpture in the second half of the 20th century. Paul Feeley, Willard Boepple, Helen Frankenthaler, Patricia Johanson, Jules Olitski, Vincent Longo, Kenneth Noland, Dan Shapiro and Anthony Caro are among the artists whose works are held by the museum. “The contents of the gallery will change on a regular basis allowing us to delve into all the complexities and intricacies of this milieu,” museum curator Jamie Franklin explained. “As we hope the new gallery makes clear, Bennington was at the very forefront of progressive art and thought in America for a period during the 1950s through the 1960s. We conceived of the new gallery as a dynamic space dedicated to the work of the many artists associated with this important moment in Bennington’s art history.” For those who admire the renowned Bennington pottery, antique dolls and catamounts, all can be found in the side galleries, along with an historic schoolhouse and sundries shop. The museum is open daily except Wednesday from 10 a.m. to 5 p.m.
CHRISTOPHER CYR Marguerite Serkin art & illustration | plaidcats.com
32 NOV/DEC 2013
Holiday Originals
Catalyst Work from Community-Based Arts Organizations Arts in Reach, Community Access to the Arts, Mudflat
NOVEMBER 4-DECEMBER13, 2013 RECEPTION: Friday, November 8, 6:30-8pm
Clockwise from upper left: Ben Eberle, Susannah Meterko, Laurie Lynn, Merill Comeau, Ellen Milan Lamont Gallery Frederick R. Mayer Art Center, Phillips Exeter Academy, 11 Tan Lane, Exeter, NH 03833 603-777-3461 | www.exeter.edu/lamontgallery December 5–20, 2013 GALLERY HOURS: Mon 1-5pm, Tues-Sat, 9am-5pm, Closed School Holidays For your artful and inspired gift-giving! From jewelry, CREDIT: Kellie Ward, CATA artist, tempera on bristol board, 2012 wearable art and ceramics to paintings, photography and more! OPENING RECEPTION: Sunday, December 8, 2-4pm
The Guild OF BOSTON ARTISTS Artist workshops, classes HISTORIC WORKS EXHIBITION & SALE and programs at Concord Art! Nov 9—30 Walkabout & Discussion with Paul Ingbretson, President Yes!Our teachers are the best and brightest and our demos, Saturday, Nov 9, 2:30 PM lectures and films provide something for everyone. “Emily is a natural teacher, down to earth, and smart. She teaches with great enthusiasm and humor! And shared with us wonderful places to see and paint.”
“Caleb an accomplished watercolorist...his teaching style is engaging, informative, and confident.” Decorative Floor Cloths with LISA HOUCK Watercolor Strategies & Techniques with MARJORIE GLICK Aldro T. Hibbard (1886—1972) Painting, Drawing & Monoprint with DEAN NIMMER Impressionist Pastels with ROBERT CARSTEN Check online in December for full catalogue of Winter 2013–2014 classes, workshops and programs!
CONCORD ART ASSOCIATION Marian W. Sloane (1876—1938) Edmund C. Tarbell (1862—1938) www.concordart.org
162 Newbury Street • Boston, MA 02116 37 Lexington Road, Concord, MA 01742, 978-369-2578 617.536.7660 • http://GuildofBostonArtists.org GALLERY HOURS:Tuesday-Saturday, 10-4:30; Sunday, 12-4
NOV/DEC 2013 33 artscope Wanderlust Maine PORTLAND’S ART DISTRICT VACATIONLAND’S MAIN STREET FOR ART
With its cobblestone streets, 19th exhibition, “Jeff Badger: OK Back OK,” century architecture, romantic streetlamps featured the recent work of multi- and seaside location, Portland, Maine is a media artist Jeff Badger. His sculptural beautiful and vibrant city. It is also experi- pieces, prints and paintings examined encing the warmth of the limelight, as it the anxieties of modern life, as well as has suddenly become a trendy destination the “thousands of tiny decisions made offering small-town charm and big-city every day that become simultaneously culture. Admittedly, a lot of the hype comes overwhelming and meaningless.” In one from Portland’s reputation as a world-class piece, a chockablock mailbox spit out bills center of epicurean delights, but the city and junk mail. also boasts a dynamic art scene. Susan Maasch Fine Art (SMFA) was a Portland’s Arts District, otherwise fixture in the Arts District for five years known as Congress Street, is not only before owner Susan Maasch closed her teeming with galleries but is also home to Congress Street gallery in 2011. Maasch the venerable Portland Museum of Art. consolidated the gallery into a small space One jewel of a gallery on Congress is Rose in the State Theater where she held small Contemporary (492 Congress St.). Opened private showings and ran a fine art photog- in 2011 by Virginia Rose, professor of art raphy consulting firm. Fans of SMFA’s history at Southern Maine Community boundary-pushing exhibitions should be College, Rose Contemporary consistently pleased that the gallery reopened in a new presents thought-provoking, unique and, location in August at 4 City Center, once at times, whimsical art. again providing a space for the sometimes Rose Contemporary’s most recent controversial but always fascinating art that has become SMFA’s trademark. The new space is light and bright, housing the works of both local and national artists in the middle or later stages of their careers. A variety of media are represented, from photography and paint- ings to prints and sculpture. SMFA’s most recent showing was two solo exhibitions: dramatic black and white photographs by Tom Baril and nature-inspired oil paintings restaurant’s stunning cherry bar, designed by Eleanor Miller. by Portland-based woodworker and Maine The Salt Exchange. As it is right next door to SMFA, one College of Art (MECA) professor Jamie would be remiss not to visit Tom Veilleux Johnston, is part of the focus on local art. Gallery (6 City Center). For over 30 years, MECA is one of the flagships of the Arts the gallery has catered to the discerning District, and its Institute of Contemporary collector interested in 20th century Art (522 Congress St.) is worth a visit. American art. Art and literature collide at the Lewis At The Salt Exchange (245 Commercial Gallery at the Portland Public Library at St.), you can enjoy fine local, seasonal 5 Monument Square at the edge of the cuisine and fine local art at the same time. Arts District. The gallery opened in 2010 The restaurant presents rotating exhibits with the unveiling of the newly renovated of local and regional emerging artists library. Located on the lower level, it is Susan Maasch Fine Art. showing contemporary pieces. Even the open and airy, and filled with artwork by
34 NOV/DEC 2013 emerging local artists as well as nationally ments the others, and is cohesive without known, established names. being repetitive. Appropriately enough, many of the Just steps away from Fore River Gallery gallery’s exhibitions have a literary bent. is Sonny’s (83 Exchange St.), a great place One of last year’s shows featured the for casual farm-to-table fare inspired by witty and macabre work of author and South American and Mexican flavors. The illustrator Edward Gorey. The gallery’s cocktails are inventive and delicious, and September/October exhibition showcased make for a perfect nightcap after a day of original paintings and illustrations by checking out Portland’s art scene. Maurice Sendak, in honor of the 50th A couple of doors down from Sonny’s anniversary of his popular book “Where is a Portland arts institution that warrants the Wild Things Are.” But the Lewis isn’t a mention. Aucocisco Galleries (89 just for bookworms. Its current exhibition, Exchange St.), a contemporary fine art “Material Matters,” on view until November gallery established in 2000, represents 30, highlights work by 18 New England mid-career artists while also supporting artists who work in wax, fabric and metal. new artists. The artists at Aucocisco have a Fore River Gallery is another relocation, strong connection to Maine, and the state’s but its new iteration has a different, tighter beauty and vitality inspire much of the focus. The gallery moved in November top-notch work on display. 2012 to 87 Market Street, right across Gorgeous Gelato (434 Fore St.) is home from the lively and verdant Tommy’s Park to truly gorgeous Italian treats. Owned and in the historic Old Port area. Liz and Mike operated by a Milanese couple, Gorgeous M. Marks partnered with Elizabeth Prior Gelato offers authentic Italian gelato and TJ McDermott of the 9 Hands Gallery, created with love and fresh, all-natural The wonderful thing about Portland is and the work of all four artists is on display ingredients. There are plenty of coffee that even when you spend a day roaming Fore River Gallery. at Fore River, offering a cheerful mix of beverages and even panini. Its colorful its art scene, enjoying its food or soaking painting, sculpture, decorative arts and interior makes for a cozy spot to take a up its atmosphere, there is still so much jewelry. The work of each artist comple- break while gallery hopping. more left to explore. Jamie Thompson
“Near Enough to Touch” Bronze Sculpture at TPHG “Nataraja” Sculpture Installation at TPHG “From One Comes Two” Bronze Installation at TPHG ARTIST PETER MORSE EXHIBIT The Parson House Gallery November 1 – 30 25 North Main St. Assonet, MA 02702 508-644-7346 Artist Opening Reception Nov. 2 (5pm – 8:30 pm) www.parsonhousegallery.com Unveiling of a 10’ sculpture in the Courtyard at 2:30 pm Free off street parking Gallery will be open 10am with live music, food and refreshments
NOV/DEC 2013 35 artscope NOV/DEC 2013 CENTERFOLD
Printmaking centerfold contest winner: Val Akula, We all wear goggles to see the world, linoleum block print, 18” x 24”.
VAL AKULA
In big cities like Boston, people watching is a popular pastime. This print is having fun with the idea of how we perceive the world and each other. Each individual in this intriguing cast of characters has a unique complex prism of their own experiences to color the world they see. While carving this linoleum block I came to appreciate and respect them all.
IN THE CENTERFOLD: VAL AKULA TO SEE MORE OF AKULA’S WORK, EMAIL [email protected]
NOV/DEC 2013 37 Reviews
Jodi Collela, Index, 2013, 198 objects, 4” x 4” encaustic on panels, labels, card catalog, full installation 222” x 92”.
THE ORDER OF THE UNIVERSE FOUR ARTISTS SEEK THE METHOD BEHIND THE MADNESS
“The Order of the Universe,” the Likewise, there are several animation size interior. She has also woven seating current show at Wheaton College, videos, long and short. so visitors can come inside her config- BEARD AND WEIL features Marina Zurkow, Andi Sutton, At first glance, a connection with ured space and sit down to discuss global GALLERIES Julie Kumar and Jodi Colella, four artists environment is obvious with Julie Kumar’s concerns in a cozy, non-confrontational WATSON FINE ARTS using scientific classification methods hanging square-cut clump of re-created nook. In this space, light dapples through WHEATON within the language of their creative terra firma with dangling roots. It is like vines and metal tags glitter overhead and COLLEGE process, emphasizing systems that an apparition, or a cause-and-effect study along sides. She has affixed aluminum 26 EAST MAIN quantify and interpret information. on chemical run-off and the algae blooms identification markers, strung dog-tag STREET This show transforms phenomena it creates. The square reflecting pool on style to reference data, to the vines. Here NORTON, and findings into art. It is part of a series the floor that is a part of her installation the tags indicate a locally harvested vine MASSACHUSETTS of exhibitions planned by gallery director corresponds to the cutout of sod that of invasive species. THROUGH Michele L’Heureux that focuses on Kumar has rigged and then suspended By harvesting bittersweet from an DECEMBER 13 relationships between art and science roughly five feet above. indigenous landscape, Sutton sees herself, today. Conceptual investigations by these Andi Sutton created an architectural in a small way, as removing invasive artists are all performative in nature; folly in the form of a gazebo-like bramble species. Her creative ethos is one of social some works are large and some are small. that she wove on-site to become a room- engagement, thus the metal strips also
38 NOV/DEC 2013 reference conversations between visitors further context — catalogued information and the artist that are focused on Q & A cards are displayed in an adjacent file. dialogues about what each participant Colella reflects on the obsessions of or audience member sitting in the space hoarding, ownership and possession in hopes, mourns and fears about climate this artwork, so things can be interpreted change. and perhaps most importantly their During the installation process, Sutton meanings exposed rather than hidden. demonstrated one of the seating arrange- This is also true in related sculptures ments that she made, which consists of (particularly her included corpulent, two chairs facing each other. Two partici- 70-pound sphere of yarn sitting on a pants using this seating must be willing pedestal, bearing the weight of fetishistic to lean against the chair backs together context). at the same time to keep the conjoined configuration of armchair ropes tough TELLING FISH STORIES enough to provide back support. It’s like The idea of audience interaction an acting exercise, which is playfully fun is important to Colella, and to spark (or awkward), and requires cooperation. dialogue, she includes a live fish swimming killed by hydrocarbon-based products in The artist includes less demanding in a container on the wall as an overt way our environment. Marina Zurkow, Mesocosm (Wink, Texas), 2012, chair options as well, and most gallery of jump-starting a conversation. She also The farthest point of the galleries is software-driven animation. visitors will be able to find a comfortable employs text in the form of small captions actually a slim corridor-like space that way to engage with this installation while from a Victorian guessing game that adds L’Heureux has lined with shelves to considering complex issues about climate random thought to the orderliness of her display tiny sculptures made by Julie change. creative pursuit. Kumar — five a day — over a month’s time; Jodi Colella’s wall relief, “Index,” further Curator L’Heureux has balanced a these and the related charts and tables explores behavioral issues by incorpo- plethora of things in this show to highlight created and shown by the artist contex- rating the sciences of philosophy and aesthetic commonality and difference. tualize and quantify. A series of nearby anthropology. She sees this project as a The Weil Gallery technically sits as a letterpress prints by Zurkow collectively re-ordering of things into contemporary nuclear cube within the Beard Gallery. called “Family Crests for Invasive Species” context. She has made an interactive grid L’Heureux in her curation maximizes its connect visually and conceptually with of square encaustic works and objects darkroom atmosphere by presenting an Sutton’s installation. arranged as a low relief stretching from epic 144-hour animated video by artist “Order of the Universe” is about quanti- floor to ceiling. The encaustic cubes seem Marina Zurkow called “Mesocosm.” fying physical evidence by the sheer to preserve and enshrine random things Zurkow has a few videos in this show that number of things and as an exhibition that are numbered, notated and given explore the effects of petroleum products is a textural layering of influences that on our environment. The two shorter explores topics that have social and scien- videos are set up for viewing on monitors tific relevance today, set into the context in the main gallery. of creative practice. In the main gallery space, Zurkow also Suzanne Volmer presents an installation featuring one whole wall covered in Tyvek® wallpaper that has been patterned top to bottom with printed images of various objects made from petroleum derivatives. The ( I ) Land artist has also fashioned from ROBERT ENOS the printed Tyvek® an array November 1 – December 30 of body bags in the shape of RECEPTION: dead animals — complete with Friday, November 15, 6-9PM zippers. They tumble forward from what is basically a wall CARNEY GALLERY Regis College Fine Arts Center about consumerism into a 235 Wellesley Street three-dimensionality of stuffed Weston, MA 02493 781–768–7034 body bags. Arranged to scatter Gallery hours: M-F, 10am-4pm across the floor, they represent Kettle Red, 2013 and by appointment The Order of the Universe installation. the animals that have been
NOV/DEC 2013 39 Reviews
HERA GALLERY PAINT 10 HIGH STREET WAKEFIELD, RHODE ISLAND A NATIONAL JURIED EXHIBITION THROUGH NOVEMBER 16
Facing the audience, nude from the By the end of “Tabula Rasa,” a nearly waist up, attempting to hold an expres- 6 minute film, Dupree’s visible body is sionless composure, Brooklyn-based completely painted over. The four actors: artist Robert Dupree offers his body as the human canvas, the hand as directing tabula rasa, awaiting the application of machine, the brush as tool and the star cultural markings. A mysterious hand player — the pasty white liquid — all work approaches him holding a large brush and together in seriocomedy mode. begins, starting at his head, to cover the Dupree’s theatrical piece expresses human canvas with what appears to be the fundamental physical process of a white house paint. universal trait of human culture: painting The presentation seems serious until, as communication and decoration. at certain points when brush meets Painting the body is usually a private shoulder or face, for example, Dupree’s experience, unless, of course, it is a stoic form subtly shifts, his body reacts, performance art piece or for participatory his eyes gleam and a brief grin appears; ceremonial or pleasure purposes. he wants to giggle. The prickly bristles In the case of “Tabula Rasa,” we watch on naked skin create a ticklish sensation, a recording of the process after the fact. inspiring a reaction that breaks apart the As in most performance art experiences, solemnity of the performance. Dupree forces the viewer in an emotive direction; we project our own feelings onto the tabula rasa. To do this, he adds us, the audience, as a third actor; it is a twisted existential approach. “My work creates an anti-Sartrean relationship and expected, yet engaging, overview between the viewer as subject and me as of what artists can accomplish with a Graham Heffernan, Dark City, 2012, oil, wax, gel, object,” he writes. traditional material such as standard and acrylic on canvas Dupree was one of 17 mostly New oil, acrylic, watercolor and mixed-media collage, 48” x 48”. England-based artists selected to substances. There are a variety of appear in “Paint,” a national juried show two-dimensional formats, a sculptural conducted via an open call application form and an example of new media. What process. The final selections were made are missing, although not distracting from by Neal Walsh, gallery director at Provi- the exhibition’s strength, are examples of dence’s AS220, with funding for the encaustic painting and an exploration of exhibition partly provided by the Rhode painted manipulated textiles. Island Council on the Arts. Walsh allowed the exhibition’s message and purpose to THE 3 Ms OF PAINTING be open-ended, seeking only to “present a Delving deeper into the collection, show that challenges the viewer to ponder the subject of paint can be explored the possibilities for creative meanings from many perspectives including, but found in the application of paint.” not limited to, three broad areas: as a Jason Travers, Decoy, 2013, oil on panel, 45” x 30”. The final presentations give us a tight Material where the actual substance
40 NOV/DEC 2013 — its natural physical properties and multi-layered, abstract mixed-media characteristics — take center focus; constructions on Plexiglas and panel. as a Manner in which genre and style Steinkamp goes all-out to exploit the are explored; and as Method where materials, working aggressively to technique is tested. create texture-changing, two-dimen- Along with Dupree, another standout sional surfaces; he employs sanders and is Providence’s Jason Travers, who has grinders as painting tools to enhance been steadily building a reputation for mark-making and adds tar as pigment. his accomplished work. His formal art The top Plexiglas layer challenges the training is evident in the way in which viewpoint that is always shifting, hiding he organizes his compositions, works and revealing underlying details for a the materials and in his final presen- continually alternating visual effect. tation. With both a B.F.A and M.F.A in The surprise in “Paint” comes from the fine arts, Travers knows what he is Charles Morgan. His watercolors do not, doing. Two of his sculptural paintings at first, appear to be works that test are on display: “Almost Ver Batim” and the boundaries of paint. They appear “Decoy.” as traditional abstract watercolors, tous medium — paint — is controlled for “Decoy,” a 45” x 30” vertical diptych perhaps landscapes, at first glance, until expressive effect. Each artist deserves June Levinson, Dancing with the Planets, acrylic individual attention, respectful consid- in oil on panel, shows remarkable you take time to look deeply and you on paper, 22” x 30”. contrast in color and form. The top note something special. As he says in eration and thoughtful discussion. panel is a heavy, textured and thick his artist statement, “My work is often assemblage of black paint added in misunderstood even by other painters.” J. Fatima Martins what appears to be a straight-from-the- Morgan forces the paper to tube application in an imperfect, yet swell. This puffing up further repeating, crisscross pattern. Here an abstracts any suggested aggressive attempt to order and control imagery and alters the the material is the lexicon. two-dimensionality of the Beneath, and attached to this heavy structure. Another visually form, is its contradiction: a light and engaging detail that tricks thinly layered, airy, almost smooth, compositional space is the brushy composition in light blues, pastel areas in which metallic yellows and greens — dreamy nursery pigment has been applied. room tones with cloud-like circular Because the curious silver forms and watery, seemingly random paint shimmers, it provides gestures are playful without much an illusion of greater depth organization. and unequal surface height. In the natural order of things, These details are of course we’d find heaven above earth, yet nuanced; it takes time to see Travers breaks away from the old rule; what Morgan is communi- reordering the vertical format, he’s cating about the possibilities created a visual anxiety, an upside-down of paint. Through experiments balance or an altered yin/yang. In his in method, Morgan pushes artist statement, Travers reveals his the material, creating an end JOHN THORNTON rationale, explaining that he is working product that goes beyond the CONSTELLATION SERIES to “amplify sculptural form” in an effort standard manner. It’s good to lend “a palpable physical presence.” work. NOVEMBER 9 – 23, 2013 Within the three-dimensional Hera Gallery and Neal Walsh Artist Reception: Saturday, November 16 5 - 8PM category, Ken Steinkamp presents have succeeded in pulling another noteworthy offering. A veteran together a strong exhibition artist, originally from Grand Island, filled with quality examples of Nebraska, he offers us complicated, how the humble and ubiqui- COLO COLO GALLERY 101 W Rodney French Blvd. Door 4 New Bedford, MA 02744 508.642.6026 [email protected]
NOV/DEC 2013 41 THE BOSTON PRINTMAKERS 2013 North American Print Biennial October 27, 2013 – December 20, 2013 Opening: October 27, 3 – 5pm create | travel | study | tour Boston University 808 Gallery 808 Commonwealth Ave, Boston MA 02215
Juror’s Talk: New Media and the North American Print Biennial Dennis Michael Jon, Minneapolis Institute of Arts Sunday, October 27, 1:30pm, Sleeper Hall, 871 Commonwealth Avenue, Boston
Related Event: Highpoint Editions: Cutting-edge Printmaking from Minneapolis Gallery Talk by Dennis Michael Jon Friday, October 25, 3pm, Sherman Gallery 775 Commonwealth Avenue, Boston
For additional information visit: Wintersession @ www.bostonprintmakers.org Ron Garrett, Mask Series – Kemosabe, intaglio Montserrat College of Art 20” x 15” Boca Raton, FL The 2013 Biennial features an installation by Cuban Artist This winter, give the gift of Wintersession, affording Ibrahim Miranda you the time and instruction to delve into a new skill, subject or even a new country through short-term, intensive courses. The Boston Printmakers at the Art Institute of Boston beverly, ma | montserrat.edu | where creativity works 700 Beacon Street, Boston MA 02215
Maria Magdalena Campos-Pons: My Mother Told Me Iris and B. Gerald Cantor Art Gallery College of the Holy Cross
September 5 to December 8, 2013 Tufts University Art Gallery Medford, MA | artgallery.tufts.edu An Exhibition of Fine Art Printmaking
with a pendant exhibition Part One Cuban Virtualities: New Media Art from the Island August 23 – October 26 Part Two November 7 – January 31, 2014
Celebrating 30 years of art at the Cantor Art Gallery María Magdalena Campos-Pons, Spoken Softly with Mama, 1998, embroidered silk and organza over For complete details please see our listing in the Exhibitions section or visit ironing boards with photographic transfers, embroidered cotton sheets, cast glass irons and trivets, wooden our website at www.holycross.edu/cantorartgallery benches, six projected video tracks, stereo sound, 8.6 x 11.7 m (installation dimensions variable), Purchased 1999, National Gallery of Canada, Ottawa
42 NOV/DEC 2013 Review
KONTINUUM ADAM MAGYAR, URBAN ITINERANT
Hungarian artist and photographer Magyar, however, does not use a THE RIGHT TOOL FOR THE JOB Tokyo, 2010, 214 x 89 cm. Adam Magyar describes himself as a conventional digital camera to express his For Magyar the camera can be analog backpacker: “Transient. Always and vision. He uses instead a machine-vision or digital. “It’s no more than a device,” everywhere.” camera typically utilized for scientific and he explained. “If you find that your He has spent extensive time traveling in industrial image processing. It is with this concept requires a different technology, Tokyo, Hong Kong, Shanghai, Kolkata, New technology that Magyar is able to “scan” that’s what you need to use, and if the York and most recently greater Boston, people, in places and moments in time technology needs some adjustments, you where his exhibition “Kontinuum” is on that he feels a typical camera is unable to make those adjustments.” And so, Magyar view through December 8 at the Griffin provide. made the required adjustments. He Museum of Photography. While you might “I’m passionate about the modern customized his camera, and the accom- GRIFFIN MUSEUM equate someone with a pack on their back world and I’m committed to photography, panying software, in order to obtain his OF PHOTOGRAPHY to be a lover of forests and mountains, it is but I thought my message just could not desired end product. 67 SHORE ROAD WINCHESTER, the city Magyar loves best. be authentically conveyed with devices Most photographers, especially street MASSACHUSETTS And it is from here that his art is that do not use the technology and the photographers, attempt to capture the THROUGH derived. limitless possibilities of the day. The emotions of their subjects, or to express DECEMBER 8 “I consider all man’s scientific achieve- bottom line is really simple. Each concept the time and place of an environment. ments an integral part of human evolu- needs the right device. If any choice is Magyar wishes to avoid those subjective tion,” he said. “So, to me, the city is no wrong in the process, the end result will be categories. He wishes to provide an objec- less of a natural environment than the nothing more than a try.” tive perspective with what he refers to rainforest.” as “seeing with machine eyes.” Magyar
NOV/DEC 2013 43 Reviews
attempts to capture things without sorting them into orders of importance or category. There is an ebb and flow to Magyar’s work. And there is also a surreal still- ness. But his photos do not deal with emotions, or the treasured moments or memories of a person’s life. They deal rather with the absence of those moments. And while Magyar explains that he “is obsessed and in love with
I’M JUST A BIT WORRIED ABOUT ALL THOSE WASTED MOMENTS.
the technology,” the true emphasis of his work is always on the imagery. “The beautiful images combine the aesthetics of classic photography with a technology that redefines our understanding of linear time and singular space in a perfect blend of science and art,” said Hannah Frieser, former director of Light Work in Syracuse, N.Y., who curated the show. “Kontinuum is my journey in life and photography,” Magyar explained. “Otherwise, it’s the journey of all of us. Minute after minute. Day after day. Generation after generation. There are events between the lines determining what it means in its entirety for us, and I consider it as a miracle, but if I choose to look at it from a distance, all I see is that nothing really happens. Don’t take me wrong. I’m extremely lucky to be here. I’m just a bit worried about all those wasted moments.” Magyar believes that people prefer videos to still images. It is through the video portion of “Kontinuum,” entitled “Stainless,” that he truly captures the art of place and time, in the frozen expressions of passengers whom he sees as sculptures and as stainless as the subway trains they await. Adam Magyar’s works have been exhibited in various solo and group shows nationally and internationally. His works are part of worldwide collec- tions and have appeared in published form in journals, magazines and books in the United States and Europe. (Adam Magyar lives in Berlin. His work, including the “Stainless” video, can be viewed at www.magyaradam.com. This interview was conducted via email as he traveled from Japan to Berlin, then Berlin to Boston.) Lisa Mikulski
Eye Candy for the Holidays! Carol Storm Gobin, Summer NOVEMBER: New oils by Carol Gobin
DECEMBER: Glass by Josh Simpson; Acrylics by Dane Tilghman
106 Main St. Brattleboro, VT 05301 Come visit us at CraftBoston December 6th – 8th Fine Art & Craft (802) 257-7044 www.vtart.com
44 NOV/DEC 2013 WWW.MARILYNKALISH.COM Review ELEVATION ON THE HUNT FOR THE IDEAL WOMAN
is direct and unabashed about the subject suggests something a bit haunting. Vase as matter, a motif that artists of both genders vessel, woman as vessel? Hunt is working ROBERT HUNT have returned to with cyclic regularity in a purely visual manner and I suspect GALLERY for generations. In a culture in which the that my observation is not his intention. 48 UNION STREET glossy airbrushed “bunnies” of Playboy In another photograph called “Yin Yang,” NEW BEDFORD, MASSACHUSETTS centerfolds resonate with little more than two women, one black and one white, lie NOVEMBER 16 a harkening to a simpler time in which with their backs to each other, legs and THROUGH 30 “naughty” meant something, Hunt’s soft bottoms interlocked and mimicking the focused and gently manipulated nudes, Asian symbol for which the piece is titled. It printed on thin handmade Japanese and is another reflection of Hunt’s attraction to Indian papers, seem mildly revolutionary, the metaphysical. slightly out of sync. This is a series of strong and confident It is a delicate balancing act. His photo- images. Hunt is a talented photo techni- graphs are sentimental and quixotic. cian who is dealing with an eternal and The women are portrayed as goddesses. sometimes controversial subject matter One hovers in front of a massive moon, that drifts in and out of fashion. And he a contemporary Selene. In “Root of does it well. (And, yes … he sometimes does Relief, 2012. Mankind,” another is reimagined as a male nudes as well … but that’s a whole “The world moves on a woman’s hips. modern Daphne, morphing from maiden to other subject.) Yin Yang Sisters, 2010. The world moves and it swivels and bops.” tree. Even in images that less directly refer- —— Talking Heads ence ancient yet still heady mythologies, In the 1972 four-part BBC television the women are more than women. series, “Ways of Seeing,” and in the book In many of the images, the women are that accompanied it, writer John Berger partially clad and photographed without noted, in deadpan tone, “Men act and their facial features being entirely clear. Hair women appear. Men look at women. Women falls, clothing drapes and angles are smartly watch themselves being looked at.” oblique. These are not portraits. They It is a wonderful postmodern observation are not mug shots, photo IDs or “People” and an invention of critical thought. And magazine covers. In the purposeful it rings true throughout much of modern obscuring, the woman becomes Woman. culture, including the realms of art history, They are archetypal or universal. They contemporary art, feminist theory, pop become avatars of Nature, of Desire, and culture, film and advertising. The photog- of Motherhood. To use a tired cliché, they raphy of Robert Hunt, on display at his become the Other (for the male viewer). downtown New Bedford gallery, galvanizes Of course, Hunt is wading into this theory. Men do look at women. They dangerous waters. He risks objectification always have, they always will. No amount in his celebration. The Madonna–whore of political correctness or intellectualized complex is just on the fringes. The problem formulas will change that. Nor should they. with putting a woman on a pedestal, no An accomplished photographer of matter with how much ardor or love, is that subjects as diverse as cityscapes, game the elevation to goddess-hood means the During this exhibition, the gallery will pieces and street performers, Hunt abandonment of humanness. also be featuring sculptor Steve Gaul, embraces the notion of the celebration, Several interesting images are jeweler Roberto Bottazzi and hologram the adoration and the idealization of the composite images in which the models artist Paul Roustan. female form in his current exhibition. He are merged with vases in a manner that Don Wilkinson
46 NOV/DEC 2013
Gallery Spotlight Maine
PERSIAN VISIONS
A figure clothed in black paces back and forth in shin-deep CONTEMPORARY snow, fruitlessly seeking protection under a flimsy umbrella. Others pass this way and that, daring the elements. Our figure PHOTOGRAPHY continues to wait — as do we — and the snow continues to fall, relentless, whipping and whirling in barren streets smothered in FROM IRAN white. All we hear is the endless, eerie howling of the harsh wind. This several-minute-long video, “The White Station,” shot by Seifollah Samadian from the vantage point of an overlooking window, offers a completely unexpected view of Iran.
48 NOV/DEC 2013 “Persian Visions” is the first contemporary Iranian photog- raphy to be displayed in the U.S., offering a view from inside- out — rather than outside-in, such as Gilles Peress’ acclaimed “Telex Iran” — of a country considered by many in the west as once grand and opulent, now conflicted, exotic, foreign. Through its range of stark, abstract, cerebral and bold images, it strives to dispel these perceptions by presenting universal sensibilities while also offering commentary on modern life in a country with origins dating back 4,800 years. For instance, take Esmail Abbasi’s “Generous Butcher,” which juxtaposes an antique-colored illustration of a classic Muslim story with a black-and-white close-up of a pencil snapped in half. As the story goes, a butcher sells tainted meats, then breaks PERSIAN his arm, only to have it healed by Imam Ali, a close relative of prophet Muhammad. The images side-by-side create a metaphor for freedom of expression in modern Iran, questioning who could restore it, and how. Sadegh Tirafkan’s “Persepolis” also wrestles with the country’s tortured identity. Set against the ruins of the once- UNIVERSITY OF VISIONS great capital of the ancient Achaemenid Empire, a man walks SOUTHERN MAINE one way and back again across two screens. In both, all we hear ART GALLERIES is the incessant crunch of shoes on gravel. Sandwiched between the screens, two still photos show AREA GALLERY, PORTLAND CAMPUS the same man standing still against the backdrop of the ruins, 35 BEDFORD STREET passers-by moving in a blur. Persepolis is a World Heritage Site PORTLAND, MAINE and a major tourist attraction, and the artist implies that Iran’s identity is forever linked with the grandeur and excess of its GORHAM CAMPUS ancient past. CENTER Meanwhile, a series by photojournalist Kaveh Golestan — who 37 COLLEGE AVENUE GORHAM, MAINE was killed by a landmine in Iraq in 2003 — attempts to blunt the atrocities of the country’s conflicts by washing out photos of THROUGH dead and charred children, men laid out on stretchers, ruined DECEMBER 8 cities. It’s left to us to determine whether the wash does in fact soften the horrific images or, rather, makes them even sharper and more grotesque. Another eerie presentation by Yahya Dehghanpoor displays a grid of dozens of eyes peering this way and that, with a mirror at center; it’s meant to set the viewer among the witnesses of the country’s past atrocities. Many other artists, meanwhile, tackle the delicate matter of family and relationships. Farshid Azarang’s “Scattered Reminiscences,” for instance, intersperses old, black-and-white photos of his family members Koroush Adim, Revelations 2, undated. with current colored ones, separated by images of TV static — presenting the box that sits in every living room across the globe as the world’s primary medium and source of imagery. Similarly, Shokufeh Alidousti’s self portraits offer a commentary on social media and the over-sharing of private matters: The artist is On display at the University of Southern Maine (USM) as dressed in black, face obscured, yet she holds aloft several family part of the traveling exhibit “Persian Visions,” it is one of 58 photos for all to see. photo and video installations created by 20 Iranian artists Ultimately, the show attempts to bridge east and west, laying who strive to shatter clichés of their homeland. Developed bare our differences when it comes to culture, freedoms, and by Hamid Severi for the Tehran Museum of Contemporary heritage — while also illuminating the undeniable bonds that Art, and Gary Hallman of the Regis Center for Art at the make us human. University of Minnesota, it will be shown at USM through Taryn Plumb Dec. 8, divided between the college’s Gorham and Portland campuses.
NOV/DEC 2013 49 Art * Architecture * Bioethics * Cognitive Science * Computational Biology * Computer Science * Consciousness*
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50 NOV/DEC 2013 Featured Cover Story FUTURECAST ART WHIPS UP A STORM
You don’t need a weatherman to know through.” The show’s contributors thus Common Ground, an agricultural high which way the wind blows. announced themselves and didn’t need to school, is doing a class project based on ARTSPACE You need an artist. be sought out. “I was already familiar with the exhibit. Artspace is planning a series 50 ORANGE STREET “I was thinking about all the tumul- the artists, but I was open to suggestion,” of panel discussions on various environ- NEW HAVEN, CONNECTICUT tuous weather we’ve been having,” said he said. “If I chose them, it was because mental concerns. NOVEMBER 8 Ihrie Means, who conceived and curated they had either worked in this vein or Nearly all the works on display have THROUGH “Futurecast,” the ecologically themed yet been affected somehow by the weather.” been created especially for “Future- JANUARY 25 humanity-based exhibit that will habitate “This vein” might as well mean cast,” though some of the artists have Artspace for the final two months of 2013. “weather vane,” since “Futurecast” been working with similar themes for Last year, Connecticut was hit by a hurri- is partly about surviving disastrous a while. Some of the art, befitting the cane in the fall and an overnight three-foot atmospheric conditions and partly about environmental nature of the exhibit, will snowfall in the winter. Means, who teaches prognosticating future conditions — a be developed on the spot at Artspace, at New Haven’s Educational Center for sort of “Farmer’s Almanac” for the artis- as changeably as the weather. “Hilary the Arts high school magnet program and tically inclined. Some works are literal, Wilder has already been working in this serves on the Artspace board of direc- some abstract and an artist’s medium of vein,” Means said, but it doesn’t give tors, was seeking a resonant, inspirational choice doesn’t provide any clues. Paul her a head start since “she’s going to contemporary subject, and found it right Duda is documenting the effects of last paint her painting in the space. She’ll in her — and everyone else’s — back yard. year’s storms on parts of Long Island and spend a workweek in the studio. It’s Futurecast’s artists each acclimate New Jersey, while other photographers almost a performance of a painting.” themselves to “the unprecedented are offering more imagistic work. Lynn Wilder’s painted installations can deal weather patterns that have become a Palewicz saw her house flooded and has with conflicts, odd juxtapositions and new reality for Americans,” as the official deep personal perspective to offer in her natural contrasts. Her work is known Artspace description of the show puts exhausting, despairing human figures for eye-popping colorings, pop-culture it. It’s a reaction to “coastal devastation” amid vibrant nature scenes. Kevin Van markings and grand-scale overwhelms in the East and colossal fires, floods and Aelst takes a textural approach, photo- and are an ideal choice for an exhibit windstorms throughout the country. graphing an assemblage of cloth and about having survived old storms and On a deeper level, this is an exhibit colored string. bracing for an inevitable slew of new ones. Katya Kirilloff, Bathers II, 2006, Chromogenic print about vulnerability, uncertainty, anxiety, Christopher Arnott photograph. breakdowns, disorientation and other emotional turmoil. No dispassionate still lifes here. The storms are on the horizon, already causing the ground to shake. Not unlike the hurricanes it depicts, “Futurecast” began as a breeze, and then got whipped into a frenzy. “It started as a smaller, summer show, then just picked up momentum,” marveled the first-time curator. While it certainly could be read as a political statement about those who choose to deny scientific evidence regarding climate change, “Futurecast” is fully an art exhibit. “I would not consider myself an activist,” Means said. “I was just trying to tap into something in the air. This is about what artists I knew were going
NOV/DEC 2013 51 Reviews
GRAND CIRCLE NO PLACE FOR A LADY GALLERY 347 CONGRESS INTREPID WOMEN TRAVELERS STREET BOSTON, MASSACHUSETTS THROUGH THE CENTURIES THROUGH JANUARY 12
Located at Boston’s scenic waterfront exhibition, one of the quarterly exhibi- Fort Point Channel district, the Grand tions he produces at the gallery. Circle Gallery is presenting a vibrant He welcomed this unique opportu- exhibition that will magically transport nity to organize and present a series of you to a different time and different place, beautiful, vintage travel posters comple- spanning then-little-known 18th century menting rich narrative panels that also continents, in a reflective show called, “No focus on pivotal societal issues of our time, Place for a Lady.” both historical and current; these female Mark Schianca, the director of the explorers sailed on huge ocean-liners Grand Circle Gallery and the manager of to exotic continents, visiting different corporate culture and history of the Grand countries where indigenous culture, Circle Corporation, curated this dazzling sights and sounds were eye-opening; their astoundingly brave endeavors enlighten the rest of us. The show’s subhead is “Intrepid Women Travelers Through the Centuries,” where 30 womens’ personal accomplish- ments are presented, six of which were paired with a narrative by a contempo- rary woman whose societal contribution directly parallels their 18th-to-mid-19th century counterpart. These 14 original wall-mounted narra- tive panels are 24” x 36” and evoke the look and the feel of an old-time newspa- per’s font, image and layout; all were sensitively articulated by Patricia Nieshoff under Schianca’s creative direction. capsize and sink, as did the RMS Titanic One such panel shows Gertrude Bell in 1912 when more than 1500 passengers Florence Nightingale. (1868-1926), known as the “Mother drowned. of Iraq,” who was a contemporary of These pioneering women took on Lawrence of Arabia; both brought daring explorations brimming with Mark Brown’s changes to the Middle East; both were hardship to investigate and learn how the credited with urging Arabs to rise against rest of the world lived. Ottoman rulers. In between the show’s narrative- Creatures Turn-of-the-century travel was often panels and vintage travel posters are hazardous on horseback or astride free-standing displays of women’s a camel, with prolonged periods of vintage travel attire: parasols, leather Gallery in the Woods 145 Main Street exposure under life-threatening sun in luggage, trunks and toiletries, circa 1915. Brattleboro, Vermont (802) 257- 4777 the vast desert. Travel on the high seas Prominently on display is a tall, heavy www.galleryinthewoods.com was perilous as well; an ocean liner could brass piece of ship’s equipment called an
52 NOV/DEC 2013 artscope right to your doorstep.
“Engine Order Telegraph,” with a hand crank that the sea captain of an ocean- Please subscribe to help advance the arts in New England! liner used to instruct his crew in the engine room on the proper sailing speed. All New England's Premier Culture Magazine Subscriber:______11 13 of these wonderful artifacts work in synchronicity with the narrative panels to 12 give a rich cultural and textural feel of 18th and 19th century travel, as Schianca Address:______wisely envisioned for the exhibition. City:______State:____ Zip:______Amelia Earhart (1897-1939) and Florence Nightingale (1820-1910) are among Phone:______Email:______the 30 female explorers featured. Marianne North (1830-1890) traveled at the FUTURECAST AT ARTSPACE NEW HAVEN
GO MOBILE! EXETER’S SEACOAST ARTIST GALLERY | REINVENTING Download through ‘PAINT’ AT THE HERA | DAISY ROCKWELL’S CURIOUS age of 40 from Victorian England to the United States, Canada, Jamaica, Japan, Apple Newsstand to get One year (six issues) $36 your interactive digital BIRDS | MASSACHUSETTS FURNITURE AT 400 | ❏ edition on iOS WANDERLUST: PORTLAND, MAINE Singapore, Sarawak, Java, Sri Lanka, India, Australia, New Zealand, South Africa, November/December 2013 Free or $5.99 mailed copy ❏ Two years (twelve issues) $59 Save 20% Brazil and Chile; from her travels, she left 832 paintings of landscapes, animals, birds and exotic plants. Payment method: Ree Sheck, who is paired in a narrative panel with Marianne North, traveled Check______Amex______M/C______Visa______to Costa Rica in 1984, and later moved there to work full-time in the rain forest Card #:______studying exotic plants and conservation issues; she now serves as the director of Exp Date:______communications for the Monteverde Conservation League, a prestigious grass- Now available on the Newsstand! roots environmental organization. NEW! Go inside the interactive issue. Schianca credits the show’s general inspiration to Barbara Hodgson’s book, “No Place for a Lady: Tales of Adventurous Women Travelers.” Some exhibition excerpts come from “Wilder Shores: Lady Travelers of the 18th and 19th Centu- To subscribe, fill out this form and tear out to mail to the address below. ries,” an exhibit presented by the UCLA Library Department of Special Collec- You can also subscribe online at artscopemagazine.com or call us today! tions. artscope 809B Hancock Street Download the free mobile app! This must-see exhibition is a cornucopia of inspiration from gutsy, indomitable Quincy, MA 02170 Visit app.artscopemagazine.com or women explorers who paved the way as pioneers. 617.639.5771 search artscope in your App Store [email protected]
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NOV/DEC 2013 53 Featured School
WELCOME TO OUR NEW HOME
CRAFTSPERSONS WORK TOGETHER NORTH BENNET STREET SCHOOL 150 NORTH STREET BOSTON, MASSACHUSETTS OPEN HOUSE NOVEMBER 8 & 9
“Six Violins, a viola, a cello,” intones are completing the above requirements Miguel Gomez-Ibanez, president of the for violin making or piano restoration, 132-year-old North Bennet Street School furniture and cabinet making, jewelry, (NBSS) on its very modern website. To my bookbinding, carpentry or any of its other ears, it could be an adult nursery rhyme or eight concentrations. a song of celebration. Just add a lilt to “six The general refrain is the same today violins.” Or perhaps the lilt is already there as the day in 1881 when Pauline Agassiz in the presidential voice — a lilt that seems Shaw started the school as a training to run though the new/old headquarters ground for new immigrants pouring of this venerable North End institution. into the North End who needed gainful Keeping its name, it has moved lock, employment: “Show me the goods!” stock and workbenches to a newly Perhaps programs were a bit more renovated, 1930s venue at 150 North urgent back then, but they were still Street, still in Boston’s North End, only informed, as they are now, with the blocks away from its original location. instruction to proceed with prudence Hewing to tradition, the curriculum is and care, from the simple to the complex, still project-based, no matter whether you on a task worthy of hands and heart and mind. Indeed, in my tour of the school with communications director Nancy Jenner, I felt removed from the haste of our modern and often piecework world to an environment where this holistic approach to work was both preached and practiced. And then there was that lilt again. Light poured down into the multi-level lobby of their newly configured complex at 150 North Street, illuminating gathering spaces for students to lunch and talk and share, a centrally located shop featuring student and alumni crafts and, last but Belgian bookbinder who is also a monk. not least, exhibition/lecture space for the Judging from Edgard Claes’ art featured Entrance to North Bennet Street School’s ever-expanding notion of what consti- on the school’s website, both personas new venue at 150 North tutes craft and craftspersons. have integrated admirably to produce Street. books that enchant and surprise before A SPELLBINDING they’re even opened. GUEST LECTURER A new integration is also blessing NBSS I learned that I had just missed a public as, for the first time in decades, all of their Charles Hamm, a 2013 graduate of the NBSS lecture and exhibition by a renowned workshops and full-time programs are cabinet and furniture making program, with a bed he made for his daughter (photo by Heather McGrath).
54 NOV/DEC 2013 once again under one capacious roof. Before this building opened, the school’s bustling programs had to be spun off to — for one example — outlying Arlington, where Preservation Carpentry has been located for years. Now, serious amateurs from short-term workshops as well as full-time students from all of the school’s eight concentra- tions can rub shoulders and exchange world views that over time could well influ- ence goals and career paths. Diversity in age and aims has long added valuable ferment to the student mix at North Bennet; now, still paying back the city that has hosted them for almost a century and a half, the admin- istration is reaching farther and deeper. Lana Jackson, recently hired as a diver- sity counselor, is primed to deal with a Boston that has become, in her words, “a invites visitors to watch and interact with Centuries of Massachusetts Furniture.” majority-minority city” in which educating students and instructors in all the crafts of Visit FourCenturies.org to see the NBSS cabinet and furniture making citizens means outreach to every commu- the North Bennet Street School. rundown of exhibitions celebrating our instructor Steve Brown nity. Additionally, North Bennet Street is proud history — and perhaps to find and (right) instructing a On November 8 and 9, the school collaborating in a venture with other nurture your own or your family’s crafty student (photo by Heather McGrath). hosts an admission-free open house that institutions statewide to highlight “Four intentions. James Foritano
NOV/DEC 2013 55 Reviews
FASANELLA’S LAWRENCE A LABOR OF LOVE
It seems only fitting that Ralph factories; after serving in the Abraham space. Two particular images stand Fasanella was born on Labor Day. After Lincoln Brigade to support the Second out: A figure lying, presumably dead, LAWRENCE HERITAGE STATE all, the self-taught painter born to Italian Spanish Republic, he became highly in the street below a trampling horse, PARK GALLERY immigrants dedicated his life to Ameri- involved in labor unions in the United and a floating image of a man on a 1 JACKSON STREET ca’s working men and women. One of his States. white cross — what we can assume is his LAWRENCE, many subjects was the city of Lawrence, He didn’t begin painting until the father, whom he came to call “Joe the MASSACHUSETTS which once hummed with working mills 1940s, according to the Smithsonian iceman,” according to the American Folk THROUGH and was the site of the now-famous 1912 American Art Museum, and committed Art Museum, which holds a body of his DECEMBER 16 Bread and Roses strike. himself fully to the art in 1945, owning work. During his many visits to the city in and running a gas station to pay his bills. The strike lasted from January to the 1970s, he crafted sketches of mill It wasn’t until the early 1970s that he March 1912, and as a result, workers life and machinery that would form became acclaimed and successful. received benefits such as pay increases the basis for the large, colorful, richly Perhaps one of his most famous and overtime, according to published detailed paintings that eventually made works is “Lawrence 1912: the Bread reports. him famous (especially among the and Roses Strike,” created in 1977 and Fasanella’s 1972, “Meeting at the common man). With the 100th anniver- owned by Lawrence Heritage State Commons — Lawrence 1912,” is quite sary of his birthday approaching, many Park. In the piece, towering buildings similar, with workers spilling out onto
of his pieces have “come home,” so to overlook men marching, while dozens the streets and forming lines all around Mill Town — Weaving speak, in an exhibit on display through of others gather in adjacent open the city. Department, 1976. Dec. 16 at the Lawrence Heritage State Park Gallery. Titled simply “Fasanella’s Lawrence,” the show features more than a half- dozen of his paintings and working drawings of machinery, as well as photographic prints of his paintings that were stolen over the years. The Lawrence show is a preface, of sorts, to other national exhibitions forthcoming, most notably “Ralph Fasanella: Lest We Forget,” from May 2 to Aug. 3, 2014, at the Smithsonian American Art Museum. Born in New York in 1914, Fasanella’s dedication to the working man’s cause was initially shaped by his parents — he would often accompany his father on his ice delivery route, and he also spent time with his activist mother as she fought for trade unions and against fascism, according to his 1997 obituary in the New York Times. Later, during the Great Depression, he worked as a truck driver and in garment
56 NOV/DEC 2013 n n n n n n n n n n n
Red Sky — Lower Pacific Mill, 1976. INTREPID WOMEN TRAVELERS THROUGH THE CENTURIES An exhibit saluting women travelers through vintage posters, “The Great Strike — IWW Textile Strike” from 1978 is another intricate artifacts, and books which chronicle their adventures and contributions to society from the 1700’s to present day. homage to workers’ rights: Streets below brick buildings, whose wide OCTOBER 2, 2013 – JANUARY 12, 2014 windows expose workers within, are choked with people either carrying signs or astride horses. Stacks standing against a bright turquoise sky Free admission / Handicap accessible spray not smoke, but colorful bursts that appear like confetti, while gct.com/grandcirclegallery / @GC_Gallery 347 Congress Street / Boston, MA 02210 / 617 346 6459 newspaper headlines from the time emblazon the entire side of one building: “Strikers Rush Mills/Battle with Officers,” “Bullet Kills Woman,” “Great Strike Ends.” Other pieces, though, simply depict the sweaty, grimy millwork itself, Jules Olitski and the general tenor of those who made their lives from it. In the Memoirs: Green Acrylic on Canvas 1976 “Red Sky — Lower Pacific Mill,” for instance, there are no workers 35 x 28 inches portrayed at all; only a mill complex set against a pink-reddish sky, smoke- stack blazing hot. It serves as a metaphor of the workers’ anger and suppression. Others, including “Lawrence 1912/Working the Night Shift” (1978), and “Mill Town — Weaving Department” (1976), depict the mills from the viewpoint of a passerby on the street: Windows illuminated, exposing the men, women and machinery humming through the day and night.
Taryn Plumb
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NOV/DEC 2013 57
PRACTICE BASED, LOW-RESIDENCY
MFAat the New Hampshire Institute of Art – Sharon Arts Campus in Sharon and Peterborough, NH Creative Writing Photography Visual Arts Writing for Stage and Screen
www.nhia.edu/mfa
58 NOV/DEC 2013 Community New Hampshire CREATIVE HARMONY ARTISTS’ COMMUNAL GALLERY SETS A STANDARD
A model of solid, well-managed organi- zation and proven longevity, the Seacoast Artist Association (SAA) has served its 150 artist members for over 30 years. Their Main Street gallery in the charming New England hamlet of Exeter, New Hampshire is crammed like a Victorian drawing room with every manner of two-dimensional art.Every available inch of exhibition space in this hub of art is utilized along with a network of bins and racks showcasing art cards, unframed prints and matted watercolors. Artist co-ops are often plagued with financial woes, political discord and memberships in a state of flux, as well as an inability to keep regularly scheduled gallery hours manned by members of the cooperative. The Seacoast Artist Associa- tion has managed to avoid all these pitfalls by exacting a modest fee of $35 for general membership, and maintaining a $400 yearly membership fee for a very loyal central core of artists, limited to 23 in number. educational scholarships to graduating my site visit. Participation in the Theme Wall Core members are required to spend high school students whose portfolios the is open to the general membership as well Seacoast Artist Association Gallery. seven hours per month manning the gallery SAA selection committee regard as most as the general public; over 20 pieces were and dealing with day-to-day operations. In deserving. This past year, five $500 schol- showcased on the Theme Wall in October. return, they are afforded gallery represen- arships were presented. Barbara Cowan has been a core member tation all 12 months of the year with four or The SAA gallery moved to its current of the gallery for over 25 years. She values five individual pieces that they may rotate location in Exeter’s downtown historic the fact that her work, along with the work monthly. Additionally, each core member district four years ago. They occupy half of the other core members, has a place is showcased as the artist of the month in a of the former corporate headquarters of of public view all year long. She relishes two-year cycle. Instead of commanding the the New Hampshire Electric Company. The the cooperative spirit of the membership SEACOAST entire gallery in a one-man show, the artist other half of the building is home to a team and enjoys meeting the public during her ARTIST ASSOCIATION of the month is relegated to just one wall of of lawyers who are the gallery’s landlords. gallery hours. The gallery enjoys excel- GALLERY the gallery. Half of the gallery walls are floor-to- lent foot traffic, but when things are quiet, 225 WATER Simply put, all the basic expenses of the ceiling plate glass windows that are double- Barbara works on her art cards at the desk. STREET Gallery are covered by the membership fees hung with art that can be viewed from the During my visit, the phones were ringing EXETER, of the central core of 23. Additional revenues inside or the outside. Eschewing the typical and Barbara was busy making a sale. NEW HAMPSHIRE are garnered through sale commissions and standards of contemporary art presenta- As is the case with most co-ops, during the modest additional per-piece fee paid by tion, their non-glass walls are painted a the holiday season the gallery is devoted to general members when one of their works is cocoa brown. One of these brown walls “Small Works.” The SAA Small Works show included in the monthly show. showcases the “Artist of the Month.” The opens on November 2 and runs through the The financial footing of the organiza- other is the monthly “Theme Wall.” end of December. tion is so solid that each year it awards “Autumn Ablaze” was the theme during Greg Morell
NOV/DEC 2013 59 Featured Art Center Vermont
FULCRUM ARTS CENTER A CENTER IS BORN 485 WEST RIVER ROAD BRATTLEBORO, KICKSTARTING THE FULCRUM ARTS VERMONT CENTER IN BRATTLEBORO
Picture this: two women create art from open building is an expensive challenge. will cover it in graffiti. Or Blake could create dirt; they reach into a cloud and make it But creative people have creative a ceramic “Swiss cheese” framework rain money. In the past, this would be surre- solutions: an innovative heat reclamation that would serve as the base of a living alism. Today, it’s a Kickstarter campaign for system to capture waste heat from Solin’s wall, planted with edible vegetation. Or the new Fulcrum Arts center. propane-powered glass furnace and glory the building could hold an LED scrim that Natalie Blake is a ceramicist known hole will heat the building. This green would play a changing array of shapes for her tiles that ripple and fold into three solution will be capable of heating clean air and images. For now, the outside of the dimensions. Randi Solin uses ancient glass- to be distributed by ductwork throughout building will have to wait. But can another blowing techniques to create painterly the building, and it may heat water as well. Kickstarter campaign be far behind? contemporary sculptures rich with layered Blake and Solin were already investing TOP: Fulcrum Arts staff. BOTTOM: Sahara, color. They have a lot in common. Both are a lot of their own funds into renovating Marcia Santore Atlantis and Persimmon successful, established artisans working in the building. The heat reclamation system Emperor Bowls (Custom). silica-based media. They are mothers, and would be another expense, and they also they had studios in The Cotton Mill, Brattle- needed to purchase additional equipment boro (Vt.) Development Credit Corp.’s for teaching. business incubator. “We have so many friends who’ve been About seven years ago, they began doing Kickstarter,” Blake said. “We got talking about creating their own art center inspired.” They went to Kickstarter.com, to house their studios, space for classes an online crowd-funding site for creative and workshops, and a gallery to welcome projects, and set up their Vermont Chicks collectors. This would be Fulcrum Arts. Charge Up campaign. “We both have teens and we both see Kickstarter has a catch, as Blake what an incredible opportunity it is for explained, “It’s all or nothing. You set your them to get their hands into a material. To goal and have to meet it, or you don’t us, that’s such an essential part of being get any of the money.” They decided to able to discover who they are,” Blake said. set a minimal goal of $27,000 and gave “That’s the core of why we wanted to be themselves a month to reach it. To their in a place where we could interact with great surprise, they hit their goal within the the community.” Location was important. first week. “So many collectors, friends and They wanted to be close to the heart of family showed up and donated in exchange the Brattleboro arts community and, at for a piece!” said Blake. The campaign the same time, accessible to people from continued, and as of this writing, more than outside the area. $29,000 has been donated. After considering buildings in and The campaign also inspired Solin and around Brattleboro, having their hopes Blake to try something new: collaboration. raised and dashed, they found the perfect They have created a piece together, the spot: a large metal building at 485 West limited edition “Time Shifter,” which is both River Road (Route 30). They call it their ceramic and glass. “ugly duckling.” With the help of Nick Fulcrum Arts will be open to the public Marchese of Hand of Man Artisan Builders, “as soon as the door hole is cut,” said Blake, work began to transform it into the in time for the holidays. Fulcrum Arts Center. They are considering several options to Heat is always an issue in New England, make the outside of the building as inter- and heating 11,000 square feet of mostly esting as the inside. Perhaps local teens
60 NOV/DEC 2013 Nov. 5TH – Dec. 2ND 2013 Touch Art Gallery presents: “A Painter’s Perspective” solo exhibition by Ray Sherwin, an Iranian American artist Opening Reception Nov. 15TH 5 – 9 PM Touch Art Gallery 281 Concord Ave Cambridge, MA 02138 617-547-0017 [email protected] www.touchag.com Open: Tuesday – Sunday 10AM - 7PM Monday by appointment Recent Water Studies by Jim Kociuba
November - December 2013
Lilies, Oil on Canvas, 22 x 28
Ray Sherwin’s paintings are an expression of his thoughts, his view on human beings, nature, and all elements with a pyschological perspective. Wave, Acrylic on Canvas, 12 x 16
Please join us for the opening reception and to meet the artists on Friday, Nov. 15TH from 5 - 9 PM.
Dunes, Oil on Canvas, 10 x 8 Self - Portrait, Oil on Canvas, 22 x 28 Capsule Previews
expectations of painting. The show’s “Chuck Close and His Turnaround curator, Ariel Freiberg, utilizes mass Art Kids,” which opens November 7 media images in creating oil painting and continues through December 15 collages meant to create “tension at the Housatonic Museum of Art, between sexuality in the external 900 Lafayette Boulevard, Bridge- world and internal narratives.” Resa port, Conn., features five large-scale Blatman’s laser-cut panel paintings archival watercolor pigment prints, explore the contradiction between mixing photography and painting, the “beautiful and grotesque quali- depicting 34 sixth-through-eighth- ties of nature,” especially in relation grade students Close mentored at to human behavior. Susan Still Bridgeport’s Roosevelt School as Scott terrorizes recycled canvases part of President Barack Obama’s and stretcher bars before putting Turnaround Arts Initiative. “To them back together and reinventing create his photo-based work,” the them as paintings and sculptures. show’s press release explains, “Close Zsuzsanna Varga Szegedi, through places a grid on the photo and on the a “photo-erasing” process, studies canvas, and working systematically, how everyday objects affect our lives in incremental units, he builds his by removing “the natural elements” images by applying small strokes of and leaving “unwanted, urban blight” Ray Sherwin, Clouds, at Touch Gallery. paint in multiple colors. When viewed — and perhaps, leaving you looking at from afar, each cell is perceived as an the world in a whole new way. average hue creating a unified image, November and until December 2 at express myself from an early age The work of mixed media artist albeit in near-abstraction when Touch Gallery, 281 Concord Ave., as I started to paint and write by age Merill Comeau, who explores viewed from a close distance.” Cambridge, Mass. “I was raised in a seven. …During my years in college “memory and repair through Tehran, Iran-born Ray Sherwin multi-cultural, social and religious I managed to develop and polish collecting discarded materials, is the featured artist throughout environment with an intense curiosity my skills and passion in painting by deconstructing repurposed clothing to understand and live with these taking classes in landscape and still and linens, painting and printmaking
diversities,” Sherwin writes. ”Art life. My portraits, landscapes and still rags and assembling large, wall- Chuck Close, Lorna, at Housatonic was my chosen way to interpret and life paintings are usually begun with a Museum of Art. hung collages” will be on view in two realistic approach through the use of New England locations through the lines, shapes and a clash of colors,” rest of 2013. “Fragments of Eden,” he added, noting he painted from which can be seen from November live models, actual scenes, set-ups, 17 through February 23 at Danforth photographs and his imagination. Art, 123 Union Avenue, Framingham, Taking its title from a Carolyn Mass., utilizes old fabrics, “from Forché poetry book, “The Country vintage linens to cast-off sheets” and Between Us,” which runs from references quilts and needlework in November 15 through December 20 promoting a greater appreciation of at the New Art Center in Newton, textile art. She’s also serving a visiting 61 Washington Park, Newtonville,
Mass., features four Boston-area Zsuzsanna Varga Szegedi, No Place for artists breaking through the normal Nitro 2, at New Art Center.
62 NOV/DEC 2013
Merill Comeau, Ladies of Weir Farm, at Danforth Art & SNHU artist residency at Southern New of artisans and the maker’s talents Hampshire University, where she’s that exist throughout Connecticut. creating a site-specific installation This campaign, supported by Create- with the help of university members HereNow and an ArtPlace America and her “Remains of the Day” grant, is intended to create a network exhibition, which explores the use of of Connecticut makers, offering discarded items — from materials and resources for promotion, exhibition tools to context and language — and and commerce. Mike Elko, The New Neighbor’s Dog, at North American Print Biennial. how they can be made new again. It’s The Boston Printmakers and the on view through December 14 at the Boston University College of the reflect the intense exploration and are a bronze “Concord Minute Man of McIninch Gallery, 2500 North River Arts are sponsoring the 2013 North activity of contemporary printmakers 1775” statue accompanied by French’s Road, Manchester, N.H. American Print Biennial, which who are both affirming and stretching sketchbook and letters related to the The City of Waterbury and Create- continues through December 20 at the traditional boundaries of print.” work, three busts of Ralph Waldo HereNow present The Holiday the 808 Gallery, 808 Commonwealth “From the Minute Man to the Emerson, a plaster life mask of Artisan Market on Saturday, Ave., Boston. The show features 150 Lincoln Memorial: The Timeless Abraham Lincoln, French’s sculpting November 30 from 10 a.m.-6 p.m. at prints selected by Dennis Michael Sculpture of Daniel Chester and marble cutting tools and a partial Waterbury City Hall, 235 Grand St., Jon, associate curator in the Depart- French,” continuing through March recreation of his Concord studio. Waterbury, Conn. The event, coordi- ment of Prints and Drawings at the 23 at the Concord Museum, 200 nated by Kate Stephen and Diane Minneapolis Institute of Arts. “The Lexington Road, Concord, Mass., is Brian Goslow Bowler of Kate Stephen Jewelry, wide range of prints, which include a rare opportunity to see objects will feature 50 local vendors selling intimate black and white pieces, and created by French at his Chester- their handcrafted items, including intricate, multilayered, digital work, wood studio. Among the highlights Daniel Chester French, The Concord jewelry, fine art prints, fiber arts Minute Man, at the Concord Museum. and pottery. It’s the kickoff event for State of Makers, a statewide Raluca Iancu, Corroded Mammoth, at North American Print Biennial. marketing project to raise awareness
Kate Stephen Jewelry, at Waterbury Holiday Artisan Market.
NOV/DEC 2013 63 artscope EXHIBITS PLUS LIVE FEEDS AT ARTSCOPEMAGAZINE.COM
and by appt StoveFactory Gallery during Galatea Fine Art 450 Harrison Ave., No. 43 Charlestown Open Studios Boston, MA 02118 and Charlestown Holiday Stroll BOSTON Nov. 1-30: Laurie Goddard: Sonar con Agua; Joe Kitsch: 617.423.4113 Dec. 7-8, 11am-5pm Weird Science. Reception Nov. www.kingstongallery.com “Charlestown Open Studios” 1, 6-8pm. Dec. 4-29: Small(er) at StoveFactory Studios. Works and Other Offerings: Details on our website. Members’ Group Exhibition. Lanoue Fine Art 523 Medford Street Reception Dec. 6, 6-8pm. Through Nov. 9: Jane Maxwell. Charlestown, MA 02129 Hours: Wed-Fri 12-6, Sat & Sun 12- 5 Mid-Nov.-Dec.: Gallery Artists 617.241.0130 460B Harrison Avenue, #B-6 Autumn Group Exhibition. artistsgroupofcharlestown.com Boston, MA 02118 Showcasing contemporary 617.542.1500 painting, sculpture, photography www.galateafineart.com and mixed media by both Towne Art Gallery emerging and mid-career artists Through Nov. 21: From the from the U.S. and abroad. Caribbean Diaspora: 3 Visiting Grand Circle Gallery 125 Newbury Street Artists. The Towne Art Gallery Through Jan. 12: No Place for a Boston, MA 02116 and the Center for International Adria Arch: “Tender Flesh,” (detail) 617.262.4400 Programs and Partnerships at oil on linen, 14” x 14”, 2013. Lady: Intrepid Women Travelers through the Centuries. An [email protected] Wheelock College exhibit the www.lanouefineart.com works of Stanwyck Cromwell, Bromfield Gallery exhibit saluting women travelers through vintage posters, Gilda Sharpe-Etteh and Monique Through Nov. 30 Opening: Friday, Rolle-Johnson. Each artist November 1, 6-830 pm: Adria Arch: artifacts, and books which chronicle their adventures and SoWa Artists Guild resides in New England and “Force Field.” Large paintings that Nov. 1 and Dec. 6, 5-9 pm the brings to their work aesthetic explore magnified doodles. Gallery contributions to society from the 1700’s to the present day. Free First Friday of each month, sensitivities from their respective Artists: “PR!NTS.” Prints from the Guild member artists open their Caribbean Cultures resulting traditional to eclectic. admission, handicap accessible. Hours: Wed, Fri, Sat, 12-6 ; Thurs. 12-7 studios at 450 Harrison Ave. in works that are bold and December 4-22 Opening: Fri., Free, and parking available. personally narrative. December 6, 6-8:30 pm “12x12 347 Congress Street Boston, MA 02210 Sunil Howlander: Harmony, Artists’ Talk: November 14, 10- Holiday Show” A variety of through Nov. 16, Chabot Fine 11am and 2:30-3:30pm artwork by New England artists. 617.346.6459 Art Gallery, 379 Atwells Avenue, Artists’ Reception: November 14, Hours: Wed-Sat, 12-5 gct.com/grandcirclegallery Providence, RI, 4:00-5:30pm 450 Harrison Avenue [email protected] Gallery Hours: Tues-Thur, 1-5pm, Boston, MA www.chabotgallery.com 617.451.3605 Solo show with a selection of Sat 2-5pm or by appointment. [email protected] HallSpace Howlander’s latest works. Wheelock College www.bromfieldgallery.com Through Nov. 30: Brigid Watson. Lynda Cutrell: Cutrell’s work 180 The Riverway Materia Prima. Dec. 7, 2013 - Jan. and 3 other area artists will be Boston, MA 02215 2014: Bea Modisett. By Way of featured in this non-traditional 617.879.2219 Boston Athenaeum Bangkok. Opening reception gallery featuring high end audio www.wheelock.edu/art Through Feb. 15: Collecting for Sat, Dec. 7, 3-6pm visual technologies. Audio the Boston Athenæum in the 21st 950 Dorchester Avenue Concepts Exhibit, through Feb. Century: Paintings and Sculpture. Dorchester, MA 10, 870 Commonwealth Ave, BEYOND BOSTON Gallery talk for members only. MBTA: Red line to JFK/UMASS Boston. Lynda Cutrell and Hope Wed, Nov. 6, 5:30-6:30 pm. 617.288.2255 Ricciardi: Cutrell and Ricciardi’s ArtSpace Gallery 101/2 Beacon Street www.hallspace.org works on the Intersection of Nov. 6 - 29: The Romance of Boston, MA 02108 Art and Science are featured at Nature. Watercolor 617.227.0270 the Commonwealth Research paintings & drawings by Joyce www.bostonathenaeum.org Kingston Gallery Center at Beth Israel. 75 McJilton Dwyer and Gail Irwin: Arcadian Concert, Fenwood Rd., Boston – floors 5 prints by Mary Webber. Opening Van Dyke Brown Prints & 6. Through May 5, 2014 Will reception: Sat, Nov. 9, 5 – 7. The Copley Society of Art Center Gallery: Celine Browning: Kirkpatrick: VanCampen Antique Dec. 11 – Jan. 3: Solo Exhibit of James Kubiatowicz: November 5, Skinned Reproductions and Lighting, sculpture by Philadelphia artist 2013 - January 5, 2014 Member’s Gallery: Rose Olson: Town Square, Peterborough, Tom Bendtsen. Opening Holiday Small Works 2013: 2CLOSE and some in real color NH. Showing paintings from the reception: Sat, Dec. 14, 5 – 7 November 14 - December 24 Oct. 30 – Dec. 1, 2013 greater Peterborough area by Hours: Wed – Sat, 11 – 3. 2013 Upper & Lower Galleries First Friday Opening Reception: Will Kirkpatrick. Ongoing through 63 Summer Street Venezia Robert Pyle: November Nov. 1, 5:00 - 7:30 pm. the holidays. Maynard, MA 14 - December 24, 2013 Red 450 Harrison Avenue 978.897.9828 Room Gallery Mira Cantor: Meltwater Center Gallery: Carmelo Midili: Boston, MA 02118 [email protected] Hours: Tues - Sat, 11- 6; Sun, 12-5; www.sowaartists.com www.artspacemaynard.com Mon by appt Fragments 158 Newbury Street Member’s Gallery: Mary Lang: Inhabitants Boston, MA 02116 StoveFactory Gallery Beard and Weil Galleries 617.356.5049 Dec. 4 – Dec. 29, 2013 First Friday Opening Reception: Dec. 7-8, 11am-5pm. Through Dec. 13: “The Order [email protected] “Small Wonders” of the Universe” showcases copleysociety.org Dec. 6, 5-7:30 pm. Hours: Wed–Sun, 12–5 pm An exhibit of small works in the artists who use classification
64 NOV/DEC 2013 systems and taxonomies, with cyclical experience and sense of Dreamed & Dreaming, digital artists, Anne Spalter Jodi Colella, Julie Kumar, Andi fulfillment linked to the act of featuring seven artists and Leslie Thornton. Opening Sutton, and Marina Zurkow. giving. Opening reception Sun, employing a wide variety of Reception: Oct. 5, 6-8 pm. Nov. Opening reception: Oct. 17, 6–8 Dec. 8, 2013, 3-5 pm mediums and complementary 16-Dec. 22: Small Works. Nearly pm. Artist slide lectures by Andi Hours: Thurs - Sat, 12 – 5 styles in the poetic 50 artists representing a diverse Sutton on Nov. 5 and Marina 1 Fitchburg Street interpretation of animals selection of media present works Zurkow on Nov. 18, both at 6:30 Somerville, MA 02143 Nov. 7, 7-9pm: Panel Discussion priced $500 and under. Opening pm in Ellison lecture hall, Watson 617.776.3410 with Animals: Dreamed & Reception: Nov. 16, 5-7 pm. Fine Arts. [email protected] Dreaming artists 1 Partners Lane (off 865 Main Hours: Mon–Sat 12:30–4:30; www.brickbottom.com Nov. 1-25: Close to Home: New Rd.) galleries closed during school England’s Changing Landscape Westport, MA breaks Paintings by Susanne Meterko 508.636.4177 Wheaton College CAC Gallery Dec. 5-20: Concord Art’s Annual dedeeshattuckgallery@gmail. 26 East Main Street Let the Public Play Holiday Originals Exhibition and com Norton, MA 02766 Dec. 1 through Spring 2014 Sale dedeeshattuckgallery.com 508.286.3644 The CAC Gallery turns into a Dec. 8, 2-4pm: Opening www.wheatoncollege.edu/ fully interactive play space for all Reception for Holiday Originals. gallery generations. As part of the City’s For a full catalogue of Concord initiative to build a more playful Art’s winter 2013-2014 classes, city, and in large and small scale, workshops and programs, visit Belmont Gallery of Art Let the Public Play inspires us to us online in December! Inspired by Winslow Homer make play a more integral part of 37 Lexington Road - Nov. 3 - Dec. 15 - a juried daily life in Cambridge. Free and Concord, MA 01742 exhibit of works by local artists Open to the Public. 978.369.2578 inspired by great American artist Hours: Mon 8:30-8, Tues-Thurs. www.concordart.org Winslow Homer (who spent 8:30-5, Fri 8:30-noon many summers in Belmont) and Cambridge Arts Council their interpretation of Homer’s City Hall Annex Concord Art Museum theme of Man (Women and 344 Broadway The Best Workman in the Shop: Children) and Nature. Show (corner of Inman St.) 2nd Fl. Cabinetmaker William Munroe of Kimberly Witham, “Still Life with features contemporary works Cambridge, MA 02139 Concord through March 23, 2014 Goldfinch, Bleeding Heart and created in media used by Homer, 617.349.4380 From the Minute Man to the Tulip,” 2011, digital c-print, 20” x including watercolor, illustration, www.cambridgeartscouncil.org Lincoln Memorial: The Timeless 20”. Courtesy of the artist. oils and printmaking. Sculpture of Daniel Chester Opening reception with artists, French on exhibit through March Fitchburg Art Museum Sun., Nov. 17 - 3-6 pm at the Cantor Art Gallery 23, 2014 Still Life Lives! through Jan. historical home of William Flagg ReThink Ink: 25 Years at the GPS address: 53 Cambridge 12, 2014. A group exhibition Homer House, 661 Pleasant St., Mixit Print Studio. Part II: Nov. Turnpike, Concord, MA 01742 that celebrates the vitality of the Belmont. 7, 2013 – Jan. 31, 2014. ReThink Mailing address: 200 still life tradition and its themes of The Belmont Gallery of Art, INK celebrates the work of Mixit Lexington Road, Concord, MA beauty, bounty, darkness, fragility, established in 2005, presents Print Studio and the artists who 01742 and fleeting moments. Still the work of local and regional have worked there over the 25 www.concordmuseum.org Life Lives! features paintings artists in both solo and group years since its founding in the from FAM’s permanent shows Sept. – June. The BGA former Mixit soap factory in collection including: Nell Blaine, is an architecturally significant Somerville, Massachusetts. This Danforth Museum of Art Marc Chagall, Henri Fantin- space located in the Town Hall substantial show is composed of Winter Exhibitions on view Nov. Latour, William Harnett, Walt Complex. 150 works from over 70 artists. 17- Feb. 23: Winfred Rembert: Kuhn, Georgia O’Keeffe, and Hours: Tues, Thurs, Fri., 10-4, The exhibition was first shown at Beyond Memory, Jacob Marguerite Zorach, These works Sun., 1-4 and select evening the Boston Public Library in the Lawrence: The Legend of John are surrounded by striking hours. spring/summer of 2012 and is Brown, Barbara Swan: Reflected examples of the genre by over Homer Bldg., 3rd Floor being shown in two parts at the Self, Merill Comeau: Fragments twenty contemporary New 19 Moore Street Cantor Art Gallery throughout of Eden, New Acquisitions: England artists. Belmont, MA the fall semester and extending Selections from the Permanent Meet the Artists! Sun, Nov. 3, 1-2 www.belmontgallery.org into Jan. Call ahead for hours Collection. pm. Participating artists Mary during the holidays. Hours Wed-Thurs, Sun 12-5; Fri- Kocol, Emily Eveleth, and Randal Hours: Mon-Fri, 10–5, Sat, 2-5 Sat 10-5 Thurston will discuss their artworks. Brickbottom Gallery Iris & B. Gerald Cantor Art 123 Union Ave. Eat a Still Life! Sat, Nov. 23, 5:30 Oct. 31 - Nov. 24, 2013, Open Gallery Framingham, MA –7:30 pm. Watch Liz Barbour studios Directory Exhibition, in College of the Holy Cross 508.620.0050 create edible still life. conjunction with Brickbottom O’Kane Hall www.danforthmuseum.org Ongoing: Building a Collection: Open Studios, Sat and Sun, Nov. 1 College Street, Worcester, MA Photography at the Fitchburg Art 23 and 24, noon - 6pm 508.793.3356 Museum. Organized by Dec. 5, 2013 - Jan. 18, www.holycross.edu/ Dedee Shattuck Gallery FAM Consulting Curator of 2014, Exhibition organized by the cantorartgallery Through Nov. 10: Digital Art Photography, Stephen Jareckie, Art Connection Follow the Cantor Art Gallery (R)evolution. This exhibit This exhibition features FAM’s www.theartconnection.org, on Facebook & Twitter gives a unique and rare world-class collection of Chain Reaction, juried by opportunity to view seminal photography Including Peter Brent Refsland, owner of The works of digital art dating 1954- Henry Emerson, Alexander Hallway Gallery, Jamaica Plain, Concord Art Association present in conjunction with Gardner, Alfred Stieglitz, Charles MA. Chain Reaction captures the Through Nov. 24: Animals: two influential contemporary Sheeler, Berenice Abbott,
NOV/DEC 2013 65 Exhibits
Fuller Craft Museum 508.992.2675 in the news. His painterly New England’s home for www.galleryx.org approach gives the paintings Edward Weston, Harold E. contemporary craft. Visit our www.facebook.com/ a “beautiful” quality, using Edgerton, and Paul Caponigro. holiday SHOP, Nov. 10, 2013 – Jan. GalleryXNewBedford luscious brushwork and colors, UFOs: Unidentified Fascinating 12, 2014. Current Exhibitions: yet they depict a subject that Objects. A pop-up exhibition of Made in Massachusetts: may be tragic or violent. Many unfamiliar objects from around Studio Furniture of the Bay Griffin Museum of Photography works have an undercurrent that world that are part of the State, through Feb. 9, 2014. Main Gallery: Adam Magyar: of anxiety. They feel as if Fitchburg Art Museum collection Bojagi and Beyond, through Kontinuum. Oct. 3 - Dec. 8, something bad is about to Hours: Wed-Fri 12-4, Sat & Sun January 26, 2014. Mark Davis: 2013. Opening reception Oct. happen—or has already happened. 11-5 Icarus, extended through 10, 2013, 7-8:30 pm. Hours: Mon – Thurs 8 – 10 Every First Thursday museum December 2013. Traditions This exhibition made possible Fri: 8– 5; Sat. and Sun. 1 pm – 5 admission is free from 4-8 pm. and Innovations, Fuller Craft’s by Light Work, Syracuse, NY Gallery holiday hours: 25 Merriam Parkway permanent collection. Ongoing. Atelier Gallery: Jane Fulton Alt www.pcm.edu/library Fitchburg, MA 01420 Upcoming Exhibitions: All Things The Burn Oct. 3 - Dec. 8, 2013 400 Heath Street 978.345.4207 ext 312 Considered VII (National Basket Opening reception Oct. 10, Chestnut Hill, MA www.fitchburgartmuseum.org Organization), Nov. 24, 2013– 2013, 7-8:30 pm. Members 617.731.7157 Feb. 23, 2014. Machines and gallery talk Jane Fulton Alt 6:15 www.pmc.edu/hess-gallery Mechanizations: Contemporary Griffin Gallery: Diane Meyer Fountain Street Fine Art Kinetic Sculptures, Feb. 2, 2014 Time Spent that Might Nov. 14 -Dec. 13. Natural – May 18, 2014. The Stories We Otherwise Be Forgotten Lexington Arts and Crafts Selection: New work by Core Tell (Tommy Simpson, Binh Pho, Oct. 3 - Dec. 8, 2013 Society and Associate Artists Reception Michelle Holzapfel), March 2, Atelier & Griffin Galleries Nov. 1 – Dec. 31: Soup Bowls Nov. 16, 5-7pm 2014 – June 15, 2014. Also, join Harvey Stein Workshop for Hunger. Members of the Nov. 7, 2013 - Jan. 12, 2014: us Thursday evenings for the Participants: Photographing Teen Pottery Class along with Small Work Showcase. Original artKitchen Café Performance Series. People Dec. 12-Dec. 23, 2013 Ceramics Guild potters created art: <16”, <$500, works on Hours: Tues.-Sun. 10–5, Thurs. Opening reception Dec. 12, 2013 6pm one-of-a-kind bowls to be on paper, ceramics, jewelry, cards, until 9 pm, closed Mon. MBTA Griffin Museum of Photography sale Nov. 1st through December wearables. Commuter Rail to Brockton 67 Shore Road, Winchester, MA 31st for $15 at Lexington Hours: Thurs-Sun 11-5 pm station, then take Bus 4A 01890. 781-729-1158. Tues-Sun 12-4 pm. Center’s newest restaurant, 59 Fountain Street 455 Oak Street The Griffin Museum at the Nourish. 1727 Massachusetts Framingham, MA Brockton, MA Stoneham Theater: 395 Main Ave. Nourish will also 508.879.4200 508.588.6000 St, Stoneham MA. contribute the cost of the soup www.fullercraft.org Re-Imagining Eden: and all proceeds will to go to www.fountainstreetfineart.com Photographs by Bremner Lexington Food Pantry. Benedict Sept. 12, 2013-Nov. 10, 2013 Nov. 8 & Dec. 6: Art Parties Gallery Seven I Feel Lucky: Photographs by for Adults! Re-create a Through Dec. 24: Holiday Art Frank Yamrus Nov. 14 – Jan 12, masterpiece in one night as we Show: featuring works by 12 2014 Opening reception Nov 14, take you step by step toward area artists with art ranging 2013 6:30–8:00 pm. creating a famous painting! All from paintings to photographs The Griffin Museum at the Materials included. Great fun to sculptures. Artist’s Reception: Aberjona River Gallery for: Book Clubs, Women’s Night Sat, Dec. 7, 6-8 pm. Free and 184 Swanton St., Winchester, Out, Garden Club, Creative wheelchair accessible. Also on MA Intimate Details: Birthday Party or Men’s Night Fountain Street Studios Dec. 7: “Holiday Sip & Stroll” Photographs by Vicky Stromee Out. Plan your own party Fountain Street Studios Winter with retailers offering light Sept. 12, 2013-Nov. 7, 2013 check out the other art choices Open House refreshments and holiday The Griffin Museum at Digital at: www.thecreativetouch.com Dozens of artists display their shopping specials! Silver Imaging. Nov. 8, 2013 6:30 – 9:30 pm, work at Fountain Street Studios’ Hours: Tues. - Fri. 10-6 and Sat. 10-5 9 Brighton St., Belmont, MA Martini; Dec. 6, 2013 6:30– Winter Open House. The largest 7 Nason Street Savage Beauty: Photographs by 9:30 pm, Picasso – Still Life artists’ community under one Maynard, MA 01754 Alicia Savage Sept. 23, 2013- Registration starts Nov. 18: roof in MetroWest! Many new 978.897.9777 Dec. 6, 2013 Winter Classes & Workshops. artists participating. Painting, www.gallerysevenmaynard.com Hours: Tues-Sun noon-4 Join with our local and photography, fashion design, Free admission Thurs 2-4 nationally known, expert art mixed media, handcrafted 67 Shore Road instructors. Classes for Adults jewelry, textile art, collage, glass Gallery X Winchester, MA 01890 and Teens, from the novice to art and more! Free admission November 13: Opening of GX 781.729.1158 the advanced. Approved venue: and ample free parking. Raffle Viewing. www.griffinmuseum.org (PDP’s) to teachers for Mass. Fri, Dec. 6, 5:30–9 pm Sat, Dec. November 30: Gallery X Raffle DOE certification. Visit our 7, 11 am – 5 pm. Closed Sunday. Gala from 7 pm - 11 pm. website at www.LACSma.org 59 Fountain Street December 4: Gallery X Member’s H ess G a ll e r y at Pine Manor College for a detailed listing. Online Framingham, MA 01702 Show opens. Oct. 30, 2013 – Jan. 29, 2014 Registration now available. 508.665.0614 December 7: Opening Reception New Paintings: David Barnes Dec. 4 - 24: Holiday www.fountainstreetstudios.com from 7 pm - 10 pm. Artist’s Talk and Reception: Marketplace: Shop in our [email protected] Weekend of Dec. 14 and 15, New Tues, Nov. 5, 11 am – 12:30 pm 4 galleries for a beautiful Bedford Preservation Society’s Barnes is a figurative painter selection of one-of-a-kind Holiday House Tour 4 pm - 8 pm. who depicts moments in gifts for all those on your Hours: Wed-Fri 11-5, Sat-Sun 11-3 time, often gleaned from cell holiday gift list. Baskets, Fine 169 William Street phone videos, home movies or Jewelry, Paintings, Cards and New Bedford, MA contemporary events found Prints, Polymer Clay Creations,
66 NOC/DEC 2013 Decorative Arts, Needle Arts, basketry, metalwork, pottery, Powers Gallery Weaving, Ceramics, Ornaments, toy making and tailoring. Exhibit Sam Vokey: Photography, Woodworks and Gift opens Nov. 2, 2013 at the Museum New Paintings: Landscape and South Shore Art Center Certificates. First Friday, Dec. 6: of Russian Icons in Clinton, MA. Still Life 2013: Through November Nov 8–Dec 22: National Juried 10am-9:30pm, Mon – Sat, 10–4 pm Hours: Tues-Fri 11am- 3pm; Thurs 23. Join us for a solo show of new Show – Cool – Juror, Joseph & Sun 12–4 pm to 7pm, Sat; 9am- 3pm paintings by noted Boston School Carroll. Nov. 8 Opening Reception, Monday – Friday: 9am- 4pm Back 203 Union Street painter Sam Vokey; featuring 6-8 pm Dillon Gallery: Simple Door Gallery Clinton, MA 01510 landscapes, cityscapes, still lifes, Gifts by Gallery Artists. Faculty Selections for purchase year – www.museumofrussionicons.org and New England seascapes. Feature: Anne Heywood round from our 9 Guilds. Hours: Tues - Sat, 10 - 6, Sun, 1 - 5. Nov. 8, 6–8 pm. Dillon Gallery: Hours: Tue--Fri & Sun: 12-4 & Sat 10-4 Closed on Monday. Book Signing with Michael 130 Waltham Street Nesto Gallery 144 Great Road Weymouth. Maine (Island Lexington, MA 02421 George Nick: A Lifetime of Self- Acton, MA 01720 Time) by Elizabeth Garber and 978-263-5105 Michael Weymouth. The book 781.862.9696 Portraits. Nov. 8 - Dec. 13, 2013 www.powersgallery.com is a culmination of three years www.LACSma.org Opening Reception: Friday, Nov. 8 collaboration with poet Elizabeth 5:30-7:30pm Garber. Hours: Mon-Fri 8:30-3:30 Hours: Mon-Sat 10-4, Sun 12–4 The Gallery at Mount Ida College Open to the public – free 119 Ripley Road / Yamamoto Gallery admission Cohasset, MA 02025 Watch for a new space and a new Milton Academy Art & Media 781.383.2787 name for the Gallery at Mount Ida Center www.ssac.org College. The Yamamoto Gallery 170 Centre Street is named after a distinguished Milton, MA 02186 faculty member of the School 617.898.1798 The Art Complex Museum of Design, Professor Tamotsu www.milton.edu/art/nesto.cfm Through Nov. 10: Coastal Yamamoto who was known for his Printmakers. conceptual works and his mastery Through Jan. 19: Pastel Painters of drawing in architectural New Art Center The Oxbow Gallery Society of Cape Cod Ongoing: rendering. He was an advocate for Connect with Art. Classes for Harriet Diamond will show her Rotations, art from the collection the arts locally and internationally. all ages in painting, drawing, family themed, life-size sculptures Nov. 17, 2013 through Feb. 16, 2014 Further information with dates ceramics, mixed media, fiber in a retrospective show called Complex Conversations: Stacy and details is soon to come. arts, monotype printing, and “Letting the Days Go By” Oct. Latt Savage, Shane Savage- Mount Ida College more offered in fall, winter, 31 with an opening on Arts Night Rumbaugh, individual impressions 777 Dedham Street spring & summer terms. Vacation Out, Nov. 8, from 5-8 pm. These of the human experience. Newton, MA 02459 programs for children and teens. early works by the well-known Hours: Wed–Sat 1–4 www.mountida.edu/gallery Exhibiting opportunities for local sculptor of political dramas 189 Alden Street curators/artists and free family will fill both galleries at the Oxbow. PO Box 2814 gallery visits. Nov. 15-Dec. 20: The They are at the root and the Duxbury, MA 02331 Montserrat College of Art Country Between Us, a Curatorial heart of her more recent political 781.934.6634 Galleries Opportunity Program curated by dramas which are full of small www.artcomplex.org Wish You Were There? Ariel Freiberg explores ideas of figures. In this show Harriet’s talents are devoted to telling the Through Dec. 14, 2013 fragmentation by deconstructing story of a young family. Tufts University Art Gallery Montserrat Gallery the boundaries of painting both Janet Palin showing paintings Sept. 5 – Dec. 8, 2013: Maria Bevan de Wet: Masquerade physically and conceptually from New Mexico Dec. 5-Jan. 5. Magdalena Campos-Pons: My Through Nov. 16, 2013 with personal and political Membership Group Show in the Mother Told Me. Boston-based Carol Schlosberg Alumni Gallery consequences. Works by Resa back room, reception: Dec. 13, Afro-Cuban artist, Campos- David Wells: Foreclosed Dreams Blatman, Ariel Freiberg, Susan 5-8 pm. Pons addresses issues as her Nov. 20 - Dec. 21, 2013 Still Scott and Zsuzanna Varga Hours: Thur-Sun, 12-5 pm relationship with her mother and Carol Schlosberg Alumni Gallery Szegedi. Opening Reception: Nov. 275 Pleasant St. with Cuba, family, exile, the sugar Senior Student Exhibitions 15, 6-8:30pm, free; The Way is Northampton, MA 01060 industry and slave trade in this Nov. 4 - Nov. 8, Nov. 11- Nov. 15, Made by Walking: Forging New 413.586.6300 multimedia exhibition. Nov. 18 - Nov. 22 Paths Through Poetry and the oxbowgallery.org Sept. 5 – Dec. 8, 2013: Cuban 301 Gallery Visual Arts panel discussion: Nov. Virtualities: New Media Art from Hours: Mon, Tues, Wed, Fri 10-5, 20, 7-8:30pm, free, Break the the Island. This new media Thurs 10-8, Sat 12-5 Square: A Painting Workshop for The Saltbox Gallery exhibition examines the unique 23 Essex Street. All Ages: Dec. 4, 5-6:30pm, $5, 25th Holiday Season Art Show application of digital technologies Beverly, MA 01915 materials included. Holzwasser Nov. 16 - 17, 2013 in Cuban art through video www.montserrat.edu Gallery: Julie Gorn & Irwin Sat and Sun 10am – 5pm installations, net art, performance Thompson. Reception: Sat, Nov. 16, 7 – 9 documentations, and interactive Hours: Mon-Fri 9-5, Sat 1-5 pm Topsfield Fairgrounds Route media. Museum of Russian Icons 61 Washington Park 1 – Topsfield, MA Follow Us on Hours: Tues-Sun 11-5, Thurs 11-8 Crossing the Threshold: Traditional Newtonville, MA Facebook www.Saltboxgallery.net Aidekman Arts Center Folk Art from the Russian Home 617.964.3424 Featuring: Carved Birds, Jewelry, 40 Talbot Avenue is an exhibit of authentic folk [email protected] Oil Paintings, Photography, Medford, MA 02155 art and contemporary replicas www.newartcenter.org Pottery, Sculpture, Stained Glass 617.627.3518 by renowned Russian artisans. www.facebook.com/ Watercolor Paintings and [email protected] The artifacts decode the newartcenter Turned Wood www.artgallery.tufts.edu beliefs and culture of Russian twitter.com/NewArt1977 9 Towne Road Boxford, MA 01921 peasants through crafts such www.saltboxgallery.net as woodcarving, embroidery,
NOV/DEC 2013 67 Exhibits
University Gallery at California during a turbulent Lisa Noonis, Randie Olofson, Currier Museum of Art UMASS Lowell time in American history. Melinda Salazar, Sibel Alpasian, Nov. 27 - Apr. 2014 — Signs from Drawings from the Dark Side of New Hours: Open Thurs— Annapola Designs, Jean Lincoln. the Sixties: Robert Indiana’s the Moon: Works on Paper by Tues 10—5, Closed Wed. Free Art On The Hill Studios “Decade.” Features ten large, Tomas Vu Daniel Nov. 4–27: Admission 78 Government Street colorful silkscreen prints that Reception: Nov. 7, 3–5 pm. 15 Lawrence Hall Drive Kittery, ME 03903 formed Indiana’s important Hours: Mon & Wed, 12:30-5; Tues Williamstown, MA 01267 & Thurs, 1-4; F 11-6; Sat by appt. www.artonthehillkittery.com/ portfolio, Decade. Through Jan. 413.597.2429 12, 2014 — Africa Interweave: (call for extended hours) wcma.williams.edu 71 Wilder Street Textile Diasporas. Experience Lowell, MA 01854 Chabot Gallery the aesthetic power and rich 978.934.3491 “Open Studios” cultural histories of beautiful uml.edu/dept/art/galleries Nov. 19 - Jan. 11 and “Art for a textiles produced across the Heart” Opening Reception Nov. African continent. 21st 5-9pm. Our “Open Studios” Hours: Sun, Mon & Wed-Fri, 11-5, Whistler House Museum of Art section will have work priced at Sat 10-5 (free admission for NH Annual Juried Members Exhibit $200 or less. And YES, you will residents Sa 10-12) Nov. 13 to Dec. 21 have the opportunity to “make Closed Tuesday Reception Nov. 16 from 2 to 4 an off er” on select works. It is 150 Ash Street The exhibit features various a unique opportunity to view Manchester, NH, 03104 media from the member artists works by our artists and visit p. 603.669.6144 of the Lowell Art Association. Many items are smaller sized their studios at the same time f. 603.669.7194 paintings that make great gifts in one location e. [email protected] for the holiday season. Each Vivian Maier, New York, NY, This year our holiday charity is www.currier.org year a winner is picked for the October 18, 1953. “Art for a Heart”... something Edith Burger Award of Artistic ©Vivian Maier/Maloof very dear to our hearts. Excellence Collection, Courtesy Howard Our son-in law Steve DiSumma Harlow Gallery 243 Worthen Street Greenberg Gallery, New York. was born with transposition of Golden Anniversary Members’ Lowell, MA, 01852 the great arteries and because Art Show & Sale: Nov. 1-23, 978.452.7641 Women’s Studies Research of his recent heart failure he www.whistlerhouse.org Center at Brandeis University is presently in the Intensive Through Dec. 18: Vivian Maier: A Care Unit in the Shapiro Woman’s Lens, the first Boston- area showing of the elusive Cardiovascular Center in Boston street photographer’s work. with an artificial heart. He will Panel discussion on women stay there until he receives a artists, Thurs., Nov. 7 at 7:30 heart transplant which may be p.m. All programs free and up to a year. To help defray the HATCH open to the public. medical costs, our wonderful Hours: M-F 9- 5 or by appt. artists have donated works and STREET 515 South Street proceeds from the sales will go OPEN Waltham, MA 02454 to this cause. 781.736.8102 379 Atwells Ave. STUDIOS go.brandeis.edu/wsrc 88 HATCH ST [email protected] Providence, RI 02906 NEW BEDFORD brandeis.edu/wsrc 401.432.7783 RECEPTION www.chabotgallery.com FRIDAY, NOV. 22, 5-9 PM with live music BEYOND THE SAT. NOV. 23, 10-5 PM BORDERS Chazan Gallery SUN. NOV. 24, 11-5 PM Hope/Angell - Wheeler School & David Hammons. America the Art on the Hill Alumni Show: Through Nov. 6, Beautiful, 1968. Lithograph 11th Annual Open Studios 2013. Reception: Fri, Oct. 18, DARN IT! and body print. 39” x 29 1⁄2”. Nov. 30 – Dec. 1, 10-5 pm 5:30–7pm. OPEN Collection of the Oakland Terry Braun, Kim Burke, Duane Slick & Leigh Tarentino Museum of California, The Bess Cutler, Linda Gerson, Nov. 14 – Dec. 11, 2013 STUDIOS Oakland Museum Founders Fund. Dave Lincoln, Abby Platt, Reception: Thurs, Nov. 14, 630 BELLEVILLE AVE Pamela Dulong Williams, Anne 5–7pm NEW BEDFORD Williams College Museum of Art Scheer, Judy Schubert, Paula The Wheeler School SAT. NOV. 23, 10-5 PM Through Dec. 1: Now Dig This! Boxer, Joelle Guerard, Clare 228 Angell Street SUN. NOV. 24, 11-5 PM chronicles the vital legacy Rogers, Agnes Charlesworth, Providence, RI 02906 of the African American arts Joann Portalupi, Blair LaBella, 401.421.9230 community in Los Angeles, www.chazangallery.org examining a pioneering group of Lauren Pollaro, Hope Murphy, black artists who helped shape Laura Hansen, Cheri Dennett, hatchstreetstudios.com the creative output of Southern Fran Mallon, Kathy Morrisey, newbedfordopenstudios.org
68 NOV/DEC 2013 2013 Celebrating the 50th An exhibition of work by Hera installations which focus on Little Pictures 2013. Opening anniversary of the founding of Members and invited artists all the cultural impact of the drug Reception: Sun, Nov. 17, 12-4pm the Harlow Gallery. Opening Fri, reasonably priced under $300. trade and gang activity ravaging Gallery Night Providence: Thurs, Nov. 1, 5 – 8 pm Opening Reception and Silent Ciudad Juarez, Mexico. Nov. 21, 5 - 9 pm “The Fabulous Black & White Auction Saturday, November Wendy Klemperer: Restraint Galleries Closed: Thursday, Ball” Nov. 2 7-10 pm at Hallowell 23rd 6-8pm. and Release presents wildlife November 28th in observance City Hall, 1 Winthrop Street Hours: Wed-Fri, 1-5, Sat, 10-4 steel sculptures from the Chain of Thanksgiving Tickets $30 in advance, $35 at 10 High Street Hound series. (Mills Courtyard, 11 Thomas Street the door (if available) Wakefield, RI 02879 Paul Creative Arts Center) Providence, RI 02903 “8x10x100 The Final Year” Dec. 401.789.1488 Hours: Mon-Wed 10-4, Thurs 10- 401.331.1114 6 - 28, 2013. A fun fundraiser www.heragallery.org 8, Sat-Sun 1-5. www.providenceartclub.org with scores of 8x10” original art Paul Creative Arts Center available for $100 each. Artists 30 Academic Way receive 50%. Opening Friday, Jamestown Arts Center University of New Hampshire Surroundings Art Gallery December 6, 5-8 pm The Jamestown Arts Center Durham, NH 03824 Original Representational Hours: Wed – Sun Noon–6pm offers classes, workshops, and 603.862.3712 Landscapes of the Lakes Region 160 Water Street camps in painting, drawing, www.unh.edu/moa and White Mountains, Folk Art, Hallowell, ME 04347 ceramics, printmaking, [email protected] Wood Carvings and more by www.harlowgallery.org photography, design, regionally connected artists. needlepoint, creative movement Also, orginal children’s book and more. Events at the JAC Newport Art Museum illustrations by David McPhail Hera Gallery include art openings, music, The Art of Sea-ing: William and Karel Hayes. Gallery Through Nov. 16: PAINT: A film, theater, and OutLoud H. Drury, Charles Woodbury, is in a restored barn in the National Juried Exhibition. A performances. Our mission is and George Bellows. Through quintessential New Hampshire show that challenges the viewer to engage, enrich and inspire Jan. 19, 2014. 19@25, through town of Sandwich near Squam to ponder the possibilities for our community through Dec. 29. Carol Miller: A Shoe Lake. creative meanings found in the extraordinary arts experiences. Affair. Through Jan. 12, 2014. Hours: Weekends in the Fall or application of paint. Hours through Oct 11: Wed– Sat. Photographers’ Guild Members’ by Appt. Nov. 23 -Dec. 21: Small Works. 10 – 2 Exhibition. Through Jan. 19, 12 Main Street 18 Valley Street 2014. Center Sandwich, NH 03227 Jamestown, RI 02835 Hours: Tues-Sat 11-4, Sun noon-4 603.284.6888 401.560.0979 76 Bellevue Avenue [email protected] www.jamestownartcenter.org Newport, RI Surroundingsart.com 401.848.8200 www.newportartmuseum.org Lamont Gallery Thorne-Sagendorph Art Gallery Catalyst: Work from Community- Expressive Voice: Landscape Based Arts Organizations Portland Museum of Art of Emotion, through November Arts in Reach, Community Through Dec. 8: Ahmed 17, 2013 Works by artists known Access to the Arts, Mudflat Alsoudani: Redacted. for their distinctive blend Nov. 4-Dec. 13, 2013 Through Dec. 8: Winslow of visionary painting from Reception: Fri, Nov. 8, 6:30-8 pm Homer’s Civil War. Through Jan. the 1930s - 1960s and the Frederick R. Mayer Art Center 5, 2014. 2013 Portland Museum continued presence of Boston
Shadow, oil on canvas, 24 x 24. 2013 Phillips Exeter Academy of Art Biennial: Piece Work Expressionism in contemporary 11 Tan Lane Through Jan. 5, 2014: Amy works from Danforth Art DAVID BARNES Exeter, NH 03833 Stacey Curtis: 9 walks permanent collection. New Paintings 603.777.3461 Dec. 21 through Feb. 23, 2014: Pressing Print: Universal [email protected] American Vision: Photographs Limited Arts Editions 2000- October 30 - January 29 exeter.edu/lamontgallery from the Collection of Owen and 2012, through December 8, 2013 facebook.com/lamont.gallery Anna Wells A chronicle of recent ULAE Artist’s Talk and Reception Tuesday, November 5 Hours: Tue-Sun: 10-5 pm; Fri: 10-9 workshops using innovative 11 am - 12:30 pm 7 Congress Square approaches and techniques in Hess Gallery is located in the Museum of Art Portland, ME 04101 contemporary art making, Annenberg Library lobby Through December 8, 2013 207.775.6148 organized by Syracuse Univ. Art (Closed Nov. 11 & Nov. 27-Dec. 1) [email protected] Collection. Honoré Daumier: Images www.portlandmuseum.org Intersection: Art, Culture, and of Protest, Voice of Dissent Identity, ongoing Object based- featuring prints from the learning using artwork from the Hess Gallery Museum of Art, University of Providence Art Club Thorne permanent collection. 400 Heath St., Chestnut Hill, MA New Hampshire’s collection. Nov. 17 - Dec. 23, 2013 Keene State College 617-731-7157 Wake Up Call: Recent Work by Maxwell Mays & Dodge House Keene, NH 03435-3501 www.pmc.edu/hess-gallery Raul Gonzalez III and Elaine Galleries: 109th Annual 603.358.2720 www.davidbarnesart.com Bay presents drawings and Little Pictures Show & Sale: www.keene.edu/tsag
NOV/DEC 2013 69
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space for rent Your work could be artscope’s SALTBOX GALLERY next CENTERFOLD. 25th Holiday Season Work by established and emerging Touch Art Gallery artists welcome. Art Show has 4000 sq ft space in a great November 16 ~ 17, 2013 For the March/April 2014 issue location in Huron village on Concord ATAT YOURYOUR FINGERTIPS FINGERTIPS we will be accepting submissions of Saturday and Sunday 10am – 5pm Avenue in Cambridge, MA. Body Art. Reception: Saturday, November 16th 7 – 9 pm Body Art consists of any type of Given a vast space, the gallery wants to Topsfield Fairgrounds Introducing the digital edition on Apple Newsstand artwork made on the body such as rent non-live-in studio space to artists on Route 1 – Topsfield, MA tattoo art, makeup art, short or long term sub-leases. or body painting. Follow Us on Facebook www.Saltboxgallery.net The tenants would have access to window Please send up to three images to display their pieces, and your statement with contact Featuring: sell their artworks directly and have information to: Carved Birds Jewelry Oil Paintings [email protected], permanent exhibition and open studio. Photography Pottery Sculpture no later than January 15, 2013. Subscribe Now! Stained Glass Watercolor Paintings Also, the tenants will have access Turned Wood artscope newsstand edition No resumes please. to WiFi, kitchen, bathroom.
Please send low resolution If you are interested in learning more images for review. High resolution In addition to regular features: “12x12 Holiday Show” about the studio spaces and rent, images must be available to be Featured Public Art Boston, MA - Explore interactive images and special elements reproduced up to 9” x 12” please contact Pezhman Tahavori at John Powell, Collected Reflection Bromfield Gallery (photo by Elizabeth Michelman). dependant on your work selected. 617.547.0017 in Boston’s South End seeks 2D work - Read each edition especially designed The centerfold will be selected based on 12” x 12” or smaller including frame 281 Concord Ave. for the tablet in a dynamic, on-the-go format visual and/or conceptual quality, (if framed), with sale price under $500 Cambridge, MA 02138 by a panel of one Artscope staff (50% Gallery Commission) for its annual - Receive new issues instantly as they become and two arts professionals. juried 12x12 holiday show, Dec 4 - 22. available on the Newsstand and in circulation classes - Purchase each indvidual issue separately or... Call for Small Wonders Entry Fee $10 Each, 3 for $25 (Limit 6 pieces) - Get a Free 30-Day Trial Subscription today! Exhibit of small works December 7-8, Bring ready-to-hang work to Bromfield on held during Open Studios and HARBOR ARTS 2013 Sunday, Dec 1 only, from noon to 2pm. It’s all in the details! Click to pan & zoom. Charlestown Holiday Stroll. Stone Carving Classes BOSTON HARBOR WATCH OUT, AMERICA. HARBOR ARTS IS SHIPYARD Questions? Semester Classes AND “OccupyING” THE PRESENT. Deadline November 23. MARINA Email [email protected] or 256 Artwork not to exceed 12” X 12.” Stone Carving Saturdays MARGINAL STREET So snugly do the sculptures dotted perambulations. Powerfully visit www.bromfieldgallery.com EAST Entry details at Teen Workshops BOSTON, along the coastline of East Boston fit intoimagined and crafted, it’s www.artistsgroupofcharlestown.com the environment of the Boston Harbor both a modern artifice and Shipyard that you might think they were as ancient as our reverence Bromfield Gallery, 450 Harrison Ave, Saturday Workshops: a result of spontaneous generation. Well,for the sea’s bounty. StoveFactory Gallery Boston, MA 02118 November 16 almost. A raft of other Also get the free app! www.artistsgroupofcharlestown.com Steve Israel initiated Harbor Arts in 2010 permanent sculptures December 21 by hefting his sculpture of a giant cod from Harbor Arts 2010 617.241.0130 9:30am - 3:00pm $115.00 up to the top-front corner of the Boston swim under and alongside, - Connect daily to the art world with multiple Boat Works. The Works is still launching but never over, this regal live news feeds newly watertight creations into Boston cod. Several workers in WICKED Winter Semester Begins January 13 Harbor and that totemic cod stills swims the boatyard pointed - Explore hundreds of featured exhibits, Juried Show into view from every angle of a visitor’s out to me the undulating See Website For All galleries and artists Juried show at Fountain Street Fine Art: Current and Future Dates “The Power of the Power of Suggestion,” Jurors Hope Turner and Zola Solamente of - Interact and communicate with running 1/15/14 – 3/2/14 at Arden Gallery Boston. Scott’s Stone Carving Classes artscope & other cultural outlets award-winning Alpers Fine Art, 701 Concord Ave. through social networks Andover, MA. Entry deadline December 1, 2013. Open Cambridge, MA 02138 to all media. Exhibition dates January - Purchase your favorite back issues, schwag artscope - Android Apps auf Google Play artscope for iPhone, iPod touch, and iPad on th... https://play.google.com/store/apps/details?id=c... 30-March 2, 2014. https://itunes.apple.com/us/app/artscope/id6357...or subscriptions For prospectus, e-mail www.stonecarvingdust.blogspot.com [email protected], by 11/20/13. [email protected] Cash awards for Best-in-Show Apply online only; details at DOWNLOAD FOR IPHONE DOWNLOAD FOR ANDROID 781.258.9530 Scan this QR Code with your Scan this QR Code with your and Runner-up. fountainstfineart.com/apply. device to download the app! device to download the app!
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Download the Kaywa QR Code Reader (App Store &Android Market) and scan your code!
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Featured Public Art Boston, MA - Explore interactive images and special elements John Powell, Collected Reflection (photo by Elizabeth Michelman). - Read each edition especially designed for the tablet in a dynamic, on-the-go format - Receive new issues instantly as they become available on the Newsstand and in circulation - Purchase each indvidual issue separately or... - Get a Free 30-Day Trial Subscription today! HARBOR ARTS 2013 It’s all in the details! Click to pan & zoom.
BOSTON HARBOR WATCH OUT, AMERICA. HARBOR ARTS IS SHIPYARD AND “OccupyING” THE PRESENT. MARINA 256 MARGINAL STREET So snugly do the sculptures dotted perambulations. Powerfully EAST BOSTON, along the coastline of East Boston fit intoimagined and crafted, it’s the environment of the Boston Harbor both a modern artifice and Shipyard that you might think they were as ancient as our reverence a result of spontaneous generation. Well,for the sea’s bounty. almost. A raft of other Also get the free app! Steve Israel initiated Harbor Arts in 2010 permanent sculptures by hefting his sculpture of a giant cod from Harbor Arts 2010 up to the top-front corner of the Boston swim under and alongside, - Connect daily to the art world with multiple Boat Works. The Works is still launching but never over, this regal live news feeds newly watertight creations into Boston cod. Several workers in Harbor and that totemic cod stills swims the boatyard pointed into view from every angle of a visitor’s out to me the undulating - Explore hundreds of featured exhibits, galleries and artists - Interact and communicate with artscope & other cultural outlets through social networks - Purchase your favorite back issues, schwag
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